model curriculum content - kshec.karnataka.gov.in

Model Curriculum Content

For

Performing Arts Dance / Theatre Arts / Music

Under

National Education Policy – 2020

Prepared By

Performing Arts Curriculum Committee for

UG Degrees

Dr. NAGESH V BETTAKOTE

Vice Chancellor, Chairman

Visual Arts, Performing Arts Curriculum Design Committee

K. S. G. H Music and Performing Arts University,

Mysore.

Dr. K RAMAKRISHNAIAH

Chairman, Performing Arts Curriculum Committee

Department of Performing Arts,

Bangalore University.

National Education Policy 2020

A Report on the Curriculum Framework for

Four - Year under Graduate Program in Universities of

Karnataka State under NEP – 2020

in

Performing Arts

Dance / Theatre Arts / Music

Submitted to

Karnataka State Higher Education Council

30, Prasanna Kumar Block, Bengaluru City University Campus,

Y Ramachandra Road, Gandhinagar,

Bengaluru, Karnataka- 560009

September 2021


Performing Arts – Dance, Theatre Arts, Music

Expert Committee

Sl.

No Name and Organization Designation

1 Dr. K RAMAKRISHNAIAH Performing Arts Curriculum Committee,

Dept. of Performing Arts, Bangalore University.

Chairperson

2 Dr. D. M. MANJUNATH Professor, Lalita Kala College, Manasa Gangotri,

Mysore University, Mysore.

Members

3 Dr. M. H. AGADI Professor, Lalita kala college, Karnataka University,

Dharwad.

Members

4 Dr. S. N. SUSHEELA Professor, Dept. of Performing Arts, Bangalore University,

Bengaluru – 560056

Members

5 Dr. C. A. SHREEDHAR Professor and Principal,

Lalita Kala College, Manasa Gangotri, Mysore University,

Mysore.

Members

6 Dr. MALLIKARJUN. S. TARALAGATTI Assoc. Professor of Hindustani Music, University College of

Fine Arts & Music, Dharwad.

Members

7 Dr. SHEELA. H.K Professor of Dance, Lalita kala college, Manasa Gangotri,

Mysore University, Mysore.

Members

8 Dr. ASHOK HUGGANAVAR Assoc. Professor of Hindustani Music, S.D.M. college,

Honnavara, Uttara Kannada.

Members

9 Dr. SRIKANTH PATHAK Assoc. Professor of Music, P.P.G.M. college, Gadaga.

Members

10 Dr. GURURAJ DANDAPURA Assist. Professor of Music, N.V. College, Kalaburgi.

Members

12 Smt. VEENA MURTHY VIJAY Syndicate Member,

K.S.G.H. Performing Arts – Music University, Mysore

Members

13 Dr. K Prasanna Kumar

Principal Member Secretary Special Officer, Karnataka State Higher Education Council

Member

Convener

Special Invitees

Sl. No Name and Organization

1 Dr. Smt. SUMITHRA G HIREMATH Assoc. Professor, P. P. G. College of Music, Gadaga.

2 Dr. M. G. SHETTAR Assoc. Professor, P.P.G. college of Music, Gadaga.

3 Dr. SANTHA RAMA HEGADE Principal, University College of Fine Arts & Music, Dharwad.

4 Dr. S. SHIVANNA Asst. Professor, Dept. of Performing Arts, Bangalore University,

Bengaluru – 560056

5 Sri. GOPALA KRISHNA HEGADE Assoc. Professor of Music, S. D. M. College, Honnavara.

6 Dr. KRISHNA MURTHY BHAT Chairperson, Dept. of Music, M. M. College of Arts and Science, Sirsi.

Implementation of the Policy related to Curriculum Adherence

to the National Education Policy of the Universities of

Karnataka State, Performing Arts.

Preface:

India is a huge collection of many cultures and performing arts, which includes

music, dance, theatre and many other forms of fine Arts. These art forms

portray and represent national, regional and local traditions. In the recent times

efforts have been made to inculcate and teach these art forms in formal

educational setup which hitherto were being taught in the Gurukul system.

Efforts are also being made to open up these art forms to research. In India

there are certain universities and institutions that are established exclusively

to promote performing arts and have become cultural ambassadors. One of

them is Indira Kala Sangeet University. Chhattisgarh. The other one

Karnataka State Dr. Gangubai Hangal Music and Performing Arts

University, Mysuru. These universities are playing a determining role in

upholding and conserving native art forms. These universities are providing

education and training students in various indigenous art forms and

performing arts. In relation to this the new education policy 2020 is striving

to inculcate the traditional art forms which introduce the Indian culture and

tradition to the future generations. With regard to this the model syllabus of

Performing Arts and Visual Arts are framed in the following manner to be

incorporated in the National Education Policy.

National Educational Policy – 2020

Performing Arts – Dance, Theatre Arts (Drama) and Music

Curriculum Structure for Degree Programme

CONTENTS:

Sl. No. Course Page No.

1. Classical Dance Bharatanatyam 1-19

2. Classical Dance Kathak 19- 38

3. Classical Dance Kuchipudi 39 - 55

4. B. P.A. Theatre Arts (Drama) 56-73

5. B. A. Theatre Arts (Drama) 74-79

6. Karnataka Music in Vocal and Instrumental 80-96

7. Karnataka Music in Gamaka 96-101

8. Karnataka Music in Percussion Instruments 102 - 107

9. Hindustani Music B.A. in Vocal

108- 129

10. Hindustani Music B.A. in Sitar

11. Hindustani Music B.A. in Tabla

12. Hindustani Music B.P.A. in Khayal

129- 175 13. Hindustani Music B.P.A. in Sitar

14. Hindustani Music B.P.A. in Voilin

15. Hindustani Music B.P.A. in Thumri

16. Hindustani Music B.P.A. in Tabla

Page | 1


Model Program Structures for the Under-

Graduate Programs in Universities and

Colleges in Karnataka

Bachelor of Performing Arts (Basic/Hons.) (For Subjects with

practical’s) with two major and one minor

Bachelor of Arts (Basic/Hons.) (For Subjects with practical’s) with

Dance (Bharatanatyam/ Kathak/Kuchipudi) as one of the major

CLASSICAL DANCE : BHARATANATYAM

Page | 2

Eligibility Criteria for Dance (Bharatanatyam) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Dance (Bhartanatyam/ Kathak / Kuchipudi)

Programmes:

A candidate who has passed two-year Pre-University Course (PUC) Examination

conducted by Pre-University Education Board, Government of Karnataka, or 10+2

Examination conducted by CBSE or equivalent examinations by any Other State or any

other recognized Board /

Diploma in Dance / 3-year Diploma Course with any subject or 2-year JOC / ITI of any

subject / shall be eligible.

or

PUC pass with Dance as one of the subject

or

PUC with Government Recognized Junior in Dance (Bharathanatyam / Kathak /

Kuchipudi )

or

Pass in aptitude test conducted by the admission committee.

Page | 3

I & II Semester Bachelor of Performing Arts – Classical Dance

(Bharatanatyam)

Sem Discipline Core (DSC) (Credits) (L+T+P)

(4+0+2)

Discipline Elective (DSE)

/ Open Elective (OE) (Credits) (L+T+P)

Ability Enhancement Compulsory Courses (AECC), Languages

(Credits) (L+T+P) (3+3)

Skill Enhancement Course (SEC)

Total Credits

Skill Based

(Credits) (L+T+P)

Value Based (Credits) (L+T+P)

I Dance Bharatanatyam A1 -(3) Bharatanatyam A2 -(3) B 1 –(6) Theatre Arts/Music (Karnataka, Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE 1 Dance(Bharatanatyam) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2

Kannada English Hindi

Sanskrit Telugu

Urdu etc. (3+3)

Yoga (2)

23

II Dance Bharatanatyam A3 – (3) Bharatanatyam A4 – (3) B 2 -(6) Theatre Arts/Music-(Karnataka/Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE-2

Dance(Bharatanatyam) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Environmental Science (2)

Health and wellness/ social and emotional

learning (2)

25

Exit option with Certificate (48 Credits)

Page | 4

Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Bharathanatyam)

Discipline Core: Bharatanatyam Total Credits for the Program: 48

Starting Year of implementation: 2021-21

Program Outcomes of 1st Semester:

By the end of the program the students will be able to:

Remember the origin and development of Indian Classical Dance Forms.

Understand the difference between the Natyadharmi, Lokadharmi,

Analyze the different Technical Terms of Bharathanatyam

Apply the knowledge of Adavus and shloka.

Evaluate the different types of Hasthas and Bedhas.

Create and implement the Theoretical of Adavus and shloka.

Weightage for assessments (in percentage)

Type of Course Formative Assessment /

IA

Summative Assessment

Theory 30 70

Practical 30 70

Projects 30 70

Experiential Learning

(Play Production etc.)

30 70

Page | 5

CURRICULUM STRUCTURE FOR THE UNDERGRADUATE

DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance

(Bharathanatyam)

Total Credits for the Program: 48

Starting Year of Implementation: 2021 - 21

Name of the Degree Program: BPA / BA / BA (Fine Arts) Certificate

Discipline/ Subject: Bharatanatyam

Program Articulation Matrix:

This matrix lists only the core courses. Core courses are essential to earn the degree in

that discipline/subject. They include courses such as theory, laboratory, project,

internships etc. Elective courses may be listed separately

Semester Title /

Name of

the course

Program outcome that the course

addresses (not more than 3 per

course)

Pre-

Requisite

Course (s)

Pedagogy Assessment

Semester

1

Nrittha

Praveshika

- Shastra

1

Remember the origin and

development of Indian

Classical Dance Forms.

Understand the difference

between the Natyadharmi,

Lokadharmi,

Analyze the different

Technical Terms of

Bharathanatyam

The Student

Passed in

Junior

Bharatanaty

ama

certificate

Recognised

by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Nrittha

Praveshika

- Prayoga

1

Apply the knowledge of

Adavus and shloka.

Evaluate the different types of

Hasthas and Bedhas.

Create and implement the

Theoretical of Adavus and

shloka.

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Semester

2

Nrittha

Praveshika

- Shastra 2

Understand the different type

Chaturvidha Abhinaya.

Analyse the difference in

Natyashastra Chapters.


Bhavas and Rasas in

Bharatanayam.

The Student

Passed in

Junior

Bharatanaty

ama

certificate

Recognised

by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Nrittha

Praveshika

- Prayoga 2

Understand the difference in

8 Indian classical Dance

forms.

Analyze the need of

Abhinaya Darpana Shlokas.

Create and implement of

Ramayana and Mahabharatha

Stories in Dance.

Assignme

nts and

seminars

Final Exam

and stage

performances

### Pedagogy for student engagement is predominantly lectures. However, other pedagogies enhancing better student

engagement to be recommended for each course. The list includes active learning/ course projects/ problem or project

based learning/ case studies/self-study like seminar, term paper or MOOC

Every course needs to include assessment for higher order thinking skills (Applying/ Analysing/ Evaluating/ Creating).

However, this column may contain alternate assessment methods that help formative assessment (i.e. assessment for

learning)

Course Pre- Requisite (S): Mention only course titles from the curriculum that are needed to be taken by the students

before registering for this course.

Page | 6

Bachelor of Performing Arts / Bachelor of Arts /

Bachelor of Arts in Dance (Bharatanatyam)

Semester 1

Course Title: Nrittha Praveshika- Shastra 1 Total Contact Hours: 42 Course Credits: 3

Formative Assessment Marks: 30 Duration of ESA/ Exam: 3 Hr

Model Syllabus Authors: Performing Arts

Curriculum Committee

Summative Assessment Marks: 70

Course Objectives:

To impart the knowledge of origin and development of Indian Classical Dance

Forms.

To impart the knowledge of, Natyadharmi, Lokadharmi,

To train the student in Hasthas and Bedhas.

Course Outcomes: At the end of the course the student will be able to



Analyze the different Technical Terms of Bharatanatyam

Course Articulation Matrix: Mapping of Course outcomes (Cos) with Program

outcomes (Pos 1-12)

Course Outcomes (Cos) Unit 1 Unit 2 Unit 3

At the end of the course the student will be able to

1) Remember the origin and development of Indian


X

2) Understand the difference between Natyadharmi and

Lokadharmi,

X

3) Analyse the Technical Terms of Bharatanatyam X

Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 7

Bachelor of Performing Arts in Dance (BHARATANATYAM)

BPA Semester 1

Title of the course: Nrittha Praveshika- Shastra 1

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Prctical Credits

Number of

lecture

hours/semester

3 39 or 42 3 39 or 42

Content of Course – 1 Theory Nrittha

Praveshika Shastra– I

39/42 Hr

Unit – 1: 13/14 Hrs

Chapter No.1: Natyothpatthi –The Origin of Dance

Chapter No. 2: Introduction to Brief study of Classical Dance

Forms of India – Bharatanatyam, Kuchipudi,

Mohini Attam, Kathakali

Chapter No. 3: Kathak, Odissi,Manipuri, Satriya

Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas

according to Abhinayadarpana

Chapter No.5: Drishti Bedha, Greeva Bedha, Shirobedha, Brukuti

Bedha

Chapter No.6: Pada bedhas according to Abhinayadarpana

Unit – 3: 13/14 Hrs

Chapter No.7: Brief introduction to of Technical Terms or

Paribhashika Shabdas- Bharatha, Thandava,

Lasya, Angahara, Rechaka, Vritthi, Karana

Chapter No.8: Technical Terms- Natyadharmi, Lokadharmi,

Solkattu, Jaathi, Saptha Thaala,

Chapter No.9 : Nritha, Nritya, Natya, Anga, Upanga, Pratyanga

Text Books / References

Understanding of Bharathanatyam- Mrinalini Sarabai

KSSEEB Text Books for Bharathanatyam – Junior

Natyashastra -Adya Rangacha

Abhinaya Darpana-ondu vichaara Patha - Nandini Eshwar

Abhinaya Darpana of Nandikeshwara

Pedagogy

Formative Assessment

Assessment Occasion/ type Weightage in Marks

Internal Assessment 30

Theory 70

Total 100

Date Course Co-ordinator Subject Committee Chairperson

Page | 8



Semester 1

Course Title: Nrittha Praveshika - Prayoga 1

Total Contact Hours: 42 Course Credits: 3





Course Objectives:

To impart the knowledge of Kriyatmaka Abhayasa in Bharathanatyam.

To impart the knowledge of Hasthas and Bedhas.

To train the student in Adavus and shloka.





Course Articulation Matrix: Mapping of Course outcomes (COs) with Program

outcomes (POs 1-12)

Course Outcomes (Cos) / Program

Outcomes (POs)

Unit 1 Unit 2 Unit 3

1) Apply the knowledge of Adavus

and shloka.

X

2) Evaluate the different types of Hasthas and Bedhas.

X

3) Create and implement the

Theoretical of Adavus and shloka.

X

Course Articulation Matrix relates course outcomes of course with the corresponding

program outcomes whose attainment is attempted in this course. Mark ‘X’ in the

intersection cell if a course outcome addresses a particular program outcome.

Page | 9

BHARATHANATYAM - COURSE 2 Nrittha Praveshika - Prayoga 1

Unit – 1: 13/14 Hrs

Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya, Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane, Manibandha,

Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva Kriya,

Netra , Aramandala Kriya, Himmukha Mummukha

Kriya

Chapter No.3: Basic Asanas for Dancers' Flexibility

Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha /Samyutha Hastha- Drishti According to

Abhinaya Darpana with Shlokas

Chapter No.5: Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti Bedha According to Abhinaya Darpana with Shlokas

Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas

According to Abhainaya Darpana

Unit – 3: 13/14 Hrs

Chapter No.7: Adavus- Thattu adavu – 1 to 7 , Natu 1 to 7,

Mettu,

Thattumettu (5 Jaathi), Kudittha mettu Nos, Jaaru

Adavu, in 3 speeds

Chapter No.8: Prarthana shloka of Ganesha , Shiva , Saraswathi,

Vishnu

Chapter No.9: Abhinaya for Any 2 Shlokas from Bhagavadgitha

Text Books

References

AbhinayaDarpana of Nandikeshwara





Pedagogy



Internal Assignment 30

Practical 70

Total 100


Page | 10



Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Semester I

Course Title: Nrittha Praveshika- Shastra 1






Course Objectives:

To impart the knowledge of 8 Indian classical Dance forms

To impart the knowledge of Ramayana and Mahabharatha Stories.

To train the student in understanding the Abhinaya Darpana Shlokas.


Understand the difference in 8 Indian classical Dance forms.

Analyze the need of Abhinaya Darpana Shlokas.

Create and implement of Ramayana and Mahabharatha Stories in Dance.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the difference in 8

Indian classical Dance forms.

X

2) Analyze the need of Abhinaya

Darpana Shlokas.

X

3) Create and implement of

Ramayana and Mahabharatha Stories

in Dance.

X

Mark ‘X’ in the intersection cell if a course outcome addresses a particular program

outcome.

Page | 11


BPA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Nrittha Praveshika- Shastra

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

BHARATANATYAM - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs

Chapter No.1: Detailed study of 8 Indian classical Dance forms

Chapter No.2: Classification of Indian Dance- Indian Classical Dance- Folk Dance-

Ritualistic Dance –Traditional

Chapter No.3: Introduction to Folk Dances of Karnataka

Unit – 2 : 13/14 Hrs

Chapter No.4: Study of Ramayana Stories with a special reference to

Dancing them in Sancharis

Chapter No.5: Study of Mahabharatha Stories with a special reference

to Dancing them in Sancharis

Chapter No.6: Study of Stories from Puranas with special reference to

Dance

Unit – 3 : 13/14 Hrs

Chapter No.7: Sabha lakshana, Kinkini Lakshana,

Chapter No.8: Natyakrama

Chapter No.9: Abhinaya Darpana Shlokas –Pushpanjali, Natyapatra

Guna Dosha, Patra Prana,

Text Books

References






Pedagogy




Practical 70

Total 100


Page | 12

Model Curriculum



Discipline Core: Dance (Bharathanatyam)



Program Outcomes:


Understand the different type of short stories, poems and plays.

Evaluate the different types of writing skills, acting skills and speech work.

Create and implement the writing skills, acting skills and speech work.

Understand the different type of Short Telling, Poem Recitation and Play.

Evaluate the different types of Stage-Lighting, and Costume.

Create and implement the essential elements for paly production.



IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 13


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts




Discipline/ Subject: Bharatanatyam





Semester Title /

Name of

the course



course)

Pre-Requisite

Course (s)

Pedagogy Assessment

Semester

1

Nrittha

Praveshik

a- Shastra






Lokadharmi,


Technical Terms of

Bharathanatyam

The Student

Passed in

Junior

Bharatanathy

ama

certificate

Recognised

by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Nrittha Praveshik

a -

Prayoga

1



Hasthas and Bedhas.



shloka.

Assignments and

seminars

Final Exam and stage

performanc

es

Semester

2

Nritya

prakriya Understand the different type





Bhavas and Rasas in Bharatanayam.

The Student

Passed in

Junior

Bharatanathy

ama

certificate Recognised

by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Nrittha

Praveshik

a- Shastra

Understand the difference in 8


Analyze the need of Abhinaya

Darpana Shlokas.



Stories in Dance.

Assignme

nts and

seminars

Final Exam

and stage

performanc

es






learning)



Page | 14



Semester II

Course Title: Nritya Prakriya Shasthra 1






Course Objectives:

To impart the knowledge of Indian Classical Dance and Folk Dance.

To impart the knowledge of Lakshanas and Natyashastra Chapters.

To train the student in understanding Chaturvidha Abhinaya


Understand the different type Chaturvidha Abhinaya.

Analyse the difference in Natyashastra Chapters.

Create and implement the Bhavas and Rasas in Bharatanayam.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the different type Chaturvidha Abhinaya.

X

2) Analyse the difference in Natyashastra Chapters.

X

3) Create and implement the Bhavas

and Rasas in Bharatanayam.

X




Page | 15


BPA Semester 2

Title of the course: Nritya Prakriya Shasthra 1

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory

Unit – 1 : 13/14 Hrs

Chapter No.1: Classification of Indian Dance- Indian Classical

Dance- Folk Dance- Ritualistic Dance –Traditional

Chapter No. 2: Introduction to the study of North Indian Folk Dance

forms

Chapter No.3: Introduction to the study of South Indian Folk Dance

forms

Unit – 2 : 13/14 Hrs

Chapter No.4: Lakshanas According to Abhinaya Darpana with Shlokas Pushpanjali, Sabha lakshana, Kinkini Lakshana, Natyakrama

Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra Prana

shlokas from Abhinayadarpana

Chapter No.6: Brief Introduction to the Chapters of Natyashastra

Unit – 3 : 13/14 Hrs

Chapter No.7: Brief Introduction to Chaturvidha Abhinaya according to Natyashastra

Chapter No.8: Study of Bhava and Rasa

Chapter No.9: Biographies and Contribution of Great Gurus of

Bharathanatyam- Jatti Thayamma, Smt.

Rukmini Devi, Meenakshi Sundaram Pillai,

Balasaraswati Venkatalakshamma







Pedagogy




Practical 70

Total 100


Page | 16



Semester II

Course Title: Nritya Prakriya- Prayoga – 2






Course Objectives:

To impart the knowledge of Advus Vinyasa.

To impart the knowledge of Pada bedhas According to Natyashastra.

To train the student in understanding the Chaturasa Alaripu


Understand the different type of Pada bedhas According to Natyashastra

Evaluate the different types of Advus Vinyasa.

Create and implement the essential elements for Chaturasa Alaripu.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the different type of

Pada bedhas According to

Natyashastra

X

2) Evaluate the different types of

Advus Vinyasa.

X

3) Create and implement the essential

elements for Chaturasa Alaripu.

X




Page | 17

BHARATHANATYAM- COURSE 2 (Practical) Nritya Prakriya- Prayoga – 2

Unit – 1: 13/14 Hrs

Chapter No.1: Mandi , Rangakrama, Theermana, Korvai, and

Adavu Vinyasa with Notation

Chapter No.2: Other Advus Vinyasa ina all three speeds with

Recitation of Sholkattu

Chapter No.3: Recitation and Exibition of dashavidha adavus

in Five Jathis

Unit – 3: 13/14 Hrs

Chapter No.4: Pada bedhas According to Natyashastra

Chapter No.5: Sthanaka Bedha According to Natyashastra

Chapter No.6 : Tisra Alaripu Unit – 3: 13/14 Hrs Chapter No.7: Chaturasa Alaripu Chapter No.8: Aditala Jatiswaram in any Raga

Chapter No.9: Bhavabhinaya for each shloka from Krishna

Karnamritam and Tharangam Respectively







.Nritya Kale

Nritya loka

Pedagogy




Practical 70

Total 100


Page | 18




Semester II

Course Title: Nritya Prakriya- Prayoga (Practical) 2






Course Objectives:

To impart the knowledge of Hastas and Bedhas.

To impart the knowledge of Components of Adavus.

To train the student in understanding the Abhinaya and shloka from Bhagavadgita


Understand the Abhinaya and shloka from Bhagavadgita.

Analyze the difference between Hastas and Bedhas.

Create and implement the Components of Adavus in Baratanatya.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the Abhinaya and

shloka from Bhagavadgita.

X

2) Analyze the difference between

Hastas and Bedhas.

X


Components of Adavus in

Baratanatya.

X


outcome.

Page | 19



Title of the course: Nritya Prakriya- Prayoga (Practical)

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

BHARATHANATYAM - COURSE 2 (Practicals)

39/42

Unit – 1 : 13/14 Hrs Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,

Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane, Manibandha, Bhramana Kriya( for all the Kriyas),

Greeva Kriya, Netra , Aramandala Kriya,

Himmukha Mummukha Kriya

Chapter No. 2: Hastas and Bedhas- Asamyutha /Samyutha Hastha- Drishti Bedha , Shiro Bedha, Greeva, Bhrukuti Bedha According to Abhinaya Darpana with Shlokas

Chapter No. 3: Paadabedha Mandala, Sthana, Utplavana, Bhramari, Chari Acording to Abhinayadrapana

Unit – 2 : 13/14 Hrs Chapter No 4: Components of Adavus

Chapter No.5: Adavus- Thattu , Nattu Mettu, Egaruthattu,

Kuditthamettu, Thattumettu

Chapter No.6: Adavu –Mukthaya, Jaaru , Mandi , Rangakrama,

Jaathi Adavu Vinyasa

Unit – 3 : 13/14 Hrs Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and

Shiva (Each one)

Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita

and Any one shloka from Krishnakarnamritam

Chapter No.9: Tisra Alaripu



Understanding of Bharatanatyam- Mrinalini Sarabai

KSSEEB Text Books for Bharatanatyam – Junior



Nritya Kale / Nritya loka

Pedagogy




Practical 70

Total 100


Page | 20


Model Program Structures for the

Under- Graduate Programs in Universities

and Colleges in Karnataka




Dance (Bharatanatyam/ Kathak /Kuchipudi) as one of the major

CLASSICA DANCE : KATHAK

Page | 21

Eligibility Criteria for Dance (Kathak ) Degree Admission


Programmes:







or


or


Kuchipudi )

or


Page | 22

I & II Semester Bachelor of Performing Arts –

Classical Dance (Kathak)


(4+0+2)



Ability Enhancement Compulsory Courses (AECC), Languages

(Credits) (L+T+P) (3+3)


Total Credits

Skill Based

(Credits) (L+T+P)


I Dance Kathak A1 -(3) Kathak A2 -(3) B 1 –(6) Theatre Arts/Music (Karnataka, Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE 1 Dance(Kathak) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Yoga (2)

23

II Dance Kathak A3 – (3) Kathak A4 – (3) B 2 -(6) Theatre Arts/Music-(Karnataka/Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE-2

Dance(Kathak) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Environmental

Science (2)


learning (2)

25


Page | 23

Model Curriculum


Bachelor of Arts in Dance (Kathak)

Discipline Core: Dance (Kathak) Total Credits for the Program: 48






Analyze the different Technical Terms of Bharathanatyam






IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 24


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kathak)




Discipline/ Subject: in Dance (Kathak)





Semester Title /

Name of

the course



course)

Pre-

Requisite

Course (s)

Pedagogy Assessment

Semester

1 Pravesh

ika

Shastra

– I






Lokadharmi,

Analyze the different Technical

Terms of Bharathanatyam

The Student

Passed in

Junior

Bharatanaty

ama

certificate Recognised

by

Government

Assignmen

t

and

Seminar

Final Exam

and stage

performanc

es

Nrittha

Praveshi

ka -

Prayoga

1


Adavus and shloka.


Hasthas and Bedhas.



shloka.

Assignment

and

Seminar

Final Exam And

Scene

Works

Semester

2 Pravesh

ika

Shastra

– 2






Bhavas and Rasas in

Bharatanayam

The Student

Passed in

Junior

Bharatanaty

ama

certificate

Recognised

by Government

Assignmen

t

and

Seminar

Final Exam

and stage

performanc

es

Nritya

Prakriy

a-

Prayoga

– 2




Darpana Shlokas.



Stories in Dance.

Assignmen

t

and

Seminar

Final Exam

and stage

performanc

es






learning)



Page | 25



Semester 1

Course Title: Nrittha Praveshika- Shastra 1






Course Objectives:

To impart the knowledge of origin and development of Indian and Karnataka

Theatre

To impart the knowledge of Professional Karnataka Theatre and Folk Theatre of

Karnataka.

To train the student in folk Theatre form, Karnataka Theatre and Technical

knowledge of Stage.


Remember the origin and development of Indian and Karnataka Theatre.

Understand the difference between the Professional Karnataka Theatre and Folk

Theatre of Karnataka.

Analyze the different era of theatre.


outcomes (Pos 1-12)





X

2) Understand the difference between Natyadharmi and

Lokadharmi,

X

3) Analyse the Technical Terms of Bharathanatyam X


Page | 26

Bachelor of Performing Arts in Dance (KATHAK)

BPA Semester 1

Title of the course: Praveshika Shastra– I

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Nrittha


39/42 Hr

Unit – 1: 13/14 Hrs



Forms of India – Bharathanatyam, Kuchipudi,

Mohini Attam, Kathakali


Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas

according to Abhinayadarpana


Bedha


Unit – 3: 13/14 Hrs





Thhat, Amad, toda, Tukda, Tatkar, Tehai,

GathBharatha, Thandava, Lasya, Nritha, Nritya,

Natya, Anga, Upanga, Pratyanga

Chapter No.9 : Brief Introduction of Hindi, Brij and Awadhi

Bhasha relevant to Kathak Compositions





Pedagogy




Theory 70

Total 100


Page | 27

Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in

Dance (KATHAK)

Semester 1

Course Title: Nrittha Praveshika - Prayoga 1






Course Objectives:

To impart the knowledge of Kriyatmaka Abhayasa in Bharathanatyam.

To impart the knowledge of Hasthas and Bedhas.

To train the student in Adavus and shloka.






outcomes (POs 1-12)


Outcomes (POs)


1) Apply the knowledge of Adavus

and shloka.

X

2) Evaluate the different types of Hasthas and Bedhas.

X


Theoretical of Adavus and shloka.

X




Page | 28

KATHAK- COURSE 2

: Nrittha Praveshika - Prayoga 1

Unit – 1: 13/14 Hrs


Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva Kriya,

Netra , Aramandala Kriya, Himmukha Mummukha Kriya

Chapter No.3: Practical Demonstration of Teen Tal, Simple Tatkar

with Dugan and Chougan Layakaries

Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha /Samyutha Hastha- Drishti According to

Abhinaya Darpana with Shlokas


Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas According to Abhainaya Darpana

Unit – 3: 13/14 Hrs

Chapter No.7: Thaat, Amad, Thehai, GAth, Toda, Ganesh Vandana

Chapter No.8: Prarthana shloka of Ganesha , Shiva , Saraswathi, Vishnu

Chapter No.9: Abhinaya for Any 2 Shlokas from Bhagavadgitha

Text Books

References


Natyashastra



Pedagogy




Practical 70

Total 100


Page | 29


Bachelor of Arts in Dance (KATHAK)

Semester I

Course Title: : Praveshika Shastra– I






Course Objectives:

To impart the knowledge of 8 Indian classical Dance forms

To impart the knowledge of Ramayana and Mahabharatha Stories.

To train the student in understanding the Abhinaya Darpana Shlokas.


Understand the difference in 8 Indian classical Dance forms.

Analyze the need of Abhinaya Darpana Shlokas.

Create and implement of Ramayana and Mahabharatha Stories in Dance.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the difference in 8


X

2) Analyze the need of Abhinaya

Darpana Shlokas.

X

3) Create and implement of

Ramayana and Mahabharatha Stories

in Dance.

X


outcome.

Page | 30

Bachelor of Performing Arts in Dance (Kathak)


Title of the course: Nrittha Praveshika- Shastra 1

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

KATHAK- COURSE 1 THEORY


Unit – 1 : 13/14 Hrs


Chapter No.2: Classification of Indian Dance- Indian Classical Dance- Folk Dance- Ritualistic

Dance –Traditional

Chapter No.3: Introduction to the Study of Indian Folk Dances with

special reference to Folk dances of North India

Unit – 2 : 13/14 Hrs

Chapter No.4: Study of Ramayana Stories with a special reference


Chapter No.5: Study of Mahabharatha Stories with a special

reference to Dancing them in Sancharis

Chapter No.6: Study of Stories from Puranas with special reference

to Dance

Unit – 3 : 13/14 Hrs

Chapter No.7: Contribution of Great Gurus to Kathak Ishwari

Prasad, Pandit Durgalal , Lacchu Maharaj, Shambhu

Maharaj, Sitaradevi,

Chapter No.8: Technical Terms Thhat, Amad, toda, Tukda, Tatkar,

Tehai, GathBharatha, Thandava, Lasya, Angahara,

Rechaka, Vritthi, , Natyadharmi, Lokadhar, Anga,

Upanga, Pratyanga

Chapter No.9: Brief Introduction of Hindi, Brij and Awadhi

Bhasha relevant to Kathak Compositions

Text Books/ References




Pedagogy




Practical 70

Total 100


Page | 31

Model Curriculum



Discipline Core: Dance (Kathak)



Program Outcomes:










IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 32


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kathak)




Discipline/ Subject: Dance (Kathak)




internships etc. Elective courses may be listed separately Semester Title /

Name of the course


addresses (not more than 3 per course)

Pre-Requisite

Course (s)

Pedagogy Assessment

Semester

1 Pravesh

ika

Shastra

– I






Lokadharmi,


Terms of Bharathanatyam

The Student

Passed in

Junior

Bharatanatya

ma certificate

Recognised

by

Government.

Assignme

nt

and

Seminar

Final Exam

and stage

performanc

es

Nrittha

Praveshi

ka -

Prayoga

1


Adavus and shloka.


Hasthas and Bedhas.



shloka.

Assignment

and

Seminar

Final Exam And

Scene

Works

Semester

2 Pravesh

ika

Shastra

– 2






Bhavas and Rasas in

Bharatanayam

The Student

Passed in

Junior

Bharatanatya

ma certificate

Recognised

by

Government

Assignme

nt

and

Seminar

Final Exam

and stage

performanc

es

Nritya

Prakriy

a-

Prayoga

– 2




Darpana Shlokas.



Stories in Dance.

Assignme

nt and

Seminar

Final Exam

and stage performanc

es






learning)



Page | 33



Semester II

Course Title: Nritya Prakriya Shastra 2






Course Objectives:

To impart the knowledge of Indian Classical Dance and Folk Dance.

To impart the knowledge of Lakshanas and Natyashastra Chapters.

To train the student in understanding Chaturvidha Abhinaya




Create and implement the Bhavas and Rasas in kathak


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the different type Chaturvidha Abhinaya.

X

2) Analyse the difference in Natyashastra Chapters.

X

3) Create and implement the Bhavas

and Rasas in Bharatanayam.

X




Page | 34


BPA Semester 2

Title of the course: Nritya Prakriya Shastra - 2

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42


Praveshika Shastra– 2

Unit – 1 : 13/14 Hrs

Chapter No.1: Classification of Indian Dance- Indian

Classical Dance- Folk Dance- Ritualistic Dance

Traditional

Chapter No. 2: Introduction to the study of North Indian Folk

Dance forms

Chapter No.3: Study of Sahitya given by Medieval saint poets

like Surdas, Tulsidas, Meerabai, Kabir, Guru

Nanak with special reference to kathak

compositions

Unit – 2 : 13/14 Hrs

Chapter No.4: Lakshanas According to Abhinaya Darpana with Shlokas – Pushpanjali, Sabha lakshana, Kinkini Lakshana, Natyakrama

Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra Prana

shlokas from Abhinayadarpana

Chapter No.6: Definition of the Following- Kavit, Vandana,

Gat Nikas, Paran, Chakradhar Paran, Thumri,

Ghazal, Tarana

Unit – 3 : 13/14 Hrs

Chapter No.7: Brief Introduction to Chaturvidha Abhinaya

according to Natyashastra



Bharathanatyam- Jatti Thayamma, Smt.

Rukmini Devi, Meenakshi Sundaram Pillai,

Balasaraswati Venkatalakshamma





Pedagogy




Practical 70

Total 100


Page | 35



Semester II







Course Objectives:

To impart the knowledge of Advus Vinyasa.

To impart the knowledge of Pada bedhas According to Natyashastra.

To train the student in understanding the Chaturasa Alaripu


Understand the different type of Pada bedhas According to Natyashastra

Evaluate the different types of Advus Vinyasa.

Create and implement the essential elements for Chaturasa Alaripu.


outcomes (POs 1-12)


Outcomes (POs)



Pada bedhas According to

Natyashastra

X


Advus Vinyasa.

X


essential elements for Chaturasa

Alaripu.

X




Page | 36

KATHAK - COURSE 2 (Practical) Nritya Prakriya- Prayoga – 2

Unit – 1: 13/14 Hrs

Chapter No.1 Practical Demonstration of Teen TAll, Tatkar

Chapter No.2: Saraswati Vandana Chapter No.3: Practical Demonstration of Ekgun, Dugan, Chougan

Layakaries,

Unit – 3: 13/14 Hrs Chapter No.4: Pada bedhas According to Natyashastra Chapter No.5: Sthanaka Bedha According to Natyashastra

Chapter No.6 : Nritthahastas of Natyashastra Unit – 3: 13/14 Hrs Chapter No.7: Any one Nrittha Composition of Lucknow Gharana Chapter No.8: Any one Nrittha Composition of Jaipur Gharana Chapter No.9: Bhavabhinaya for Ayt two shlokas of and

Bhagavadgitha

Text Books

References


Natyashastra


Pedagogy


Assessment Occasion/ type Weightage in

Marks


Practical 70

Total 100


Page | 37




Semester II

Course Title: Kathak Nritya Prakriya- Prayoga (Practical) 2






Course Objectives:

To impart the knowledge of Hastas and Bedhas.

To impart the knowledge of Components of Adavus.

To train the student in understanding the Abhinaya and shloka from Bhagavadgita


Understand the Abhinaya and shloka from Bhagavadgita.

Analyze the difference between Hastas and Bedhas.

Create and implement the Components of Adavus in kathak


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the Abhinaya and

shloka from Bhagavadgita.

X

2) Analyze the difference between

Hastas and Bedhas.

X


Components of Adavus in

Baratanatya.

X


outcome.

Page | 38



Title of the course: Nritya Prakriya- Prayoga (Practical) 2

Course 1 Course 2

Number of Theory

Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

KATHAK - COURSE 2 (Practical)

39/42

Unit – 1 : 13/14 Hrs Chapter No.1: Kriyatmaka Abhayasa – Parshni Kriya, Jaanu kriya,

Uuru Kriya, Kathi chalane, Bhuja , Kara Chalane,

Manibandha, Bhramana Kriya( for all the Kriyas),

Greeva Kriya, Netra , Aramandala Kriya, Himmukha

Mummukha Kriya


Chapter No. 3: Paadabedha – Mandala, Sthana, Utplavana, Bhramari, Chari Acording to Abhinayadrapana

Unit – 2 : 13/14 Hrs Chapter No 4: Practical Demonstration of Teen Tal, Simple Tatkar with

Dugan and Chougan Layakaries

Chapter No.5: Practical Demonstration of Thaat, Amad, Thehai

Chapter No.6: Practical Demonstration of GAth, Toda, Ganesh

Vandana

Unit – 3 : 13/14 Hrs Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and Shiva

(Each one)

Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita and

Any one shloka from Krishnakarnamritam

Chapter No.9: Any one Nrittha composition from any Gharana



Natyashastra


Pedagogy




Practical 70

Total 100


Page | 37








Dance (Bharatanatyam/ Kathak/Kuchipudi) as one of the major

CLASSICAL DANCE: KUCHIPUDI

Page | 38

Eligibility Criteria for Dance (Kuchipudi) Degree Admission


Programmes:







or


or


Kuchipudi )

or


Page | 39


Classical Dance (Kuchipudi)


(4+0+2)



Ability Enhancement Compulsory Courses (AECC), Languages (Credits) (L+T+P)

(3+3)


Total Credits

Skill Based

(Credits) (L+T+P)


I Dance Kuchipudi A1 -(3) Kuchipudi A2 -(3) B 1 –(6) Theatre Arts/Music (Karnataka, Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE 1 Dance(Kuchipudi) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Yoga (2)

23

II Dance Kathak A3 – (3) Kathak A4 – (3) B 2 -(6) Theatre Arts/Music-(Karnataka/Hindustani)/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE-2

Dance(Kuchipudi) Music- Karnatak, Hindustani, Mrudanga, Theatre Arts, Folk Dance (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Environmental

Science (2)


learning (2)

25


Page | 40

Model Curriculum


Bachelor of Arts in Dance (Kuchipudi)

Discipline Core: Dance (Kuchipudi) Total Credits for the Program: 48




Remember the origin and development of Indian Classical Dance

Understand the difference between Hasths and Bedhas


Apply the knowledge of Kriyatmaka Abhayasa in Bhartanatyam

Evaluate the different types of acting on stage Hastas and Bedhas

Create and implement the Abhinaya in few shlokas.



IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 41


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kuchipudi)



Name of the Degree Program: BPA / BA / BA in Dance (Kuchipudi) Certificate

Discipline/ Subject: Dance (Kuchipudi)





Semester Title /

Name of the course

Program outcome that the

course addresses (not more than 3 per course)

Pre-

Requisite Course (s)

Pedagogy Assessment

Semester

1

Kuchipudi

Praveshika

Shastra– I



Classical Dance


between Hasths and Bedhas


Technical Terams of

Bharatanatyam

Pass in

Junior

Bharatanaty

am

Certificate

recognized

by

government

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Kuchipudi

Nrittha

Praveshika

- Prayoga 1


Kriyatmaka Abhayasa in

Bhartanatyam


acting on stage Hastas and

Bedhas


Abhinaya in few shlokas.

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Semester

2

Kuchipudi

Praveshika

Shastra– II


of Classical Dance in India

Evaluate the different types

of elements in Natyashastra


Abhinaya according to

Natyashastra.

Pass in

Junior

Bharatanaty

am

Certificate

recognized

by

government

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Kuchipudi Nrittha

Praveshika

- Prayoga

II

Understand the different type of Adavus


of Bedhas


essential elements of

Bhavabhinaya in shlokas.

Assignment and

Seminar

Final Exam and Stage

Performanc

e






learning)



Page | 42



Semester 1

Course Title: Kuchipudi Praveshika Shastra– I






Course Objectives:

To impart the knowledge of origin and development of Indian Classical Dance

To impart the knowledge of Hasths and Bedhas

To train the student in Technical Terams of Bharatanatyam


Remember the origin and development of Indian Classical Dance

Understand the difference between Hasths and Bedhas

Analyze the different Technical Terams of Bharatanatyam


outcomes (Pos 1-12)




Classical Dance

X

2) Understand the difference between Hasths and Bedhas X

3) Analyse the Technical Terams of Bharatanatyam. X


Page | 43

Bachelor of Performing Arts in Dance (KUCHIPUDI)

BPA Semester 1

Title of the course: Kuchipudi Nrittha Praveshika- Shastra

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42


Kuchipudi Nrittha Praveshika Shastra– I

39/42 Hr

Unit – 1: 13/14 Hrs



Forms of India – Bharathanatyam, Kuchipudi, Mohini Attam, Kathakali


Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha and Samyutha Hasthas with Shlokas according to Abhinayadarpana


Bedha


Unit – 3: 13/14 Hrs





Solkattu, Jaathi, Saptha Thaala,

Chapter No.9 : Nritha, Nritya, Natya, Anga, Upanga, Pratyanga



Nritya Tarangini – Vedantam Parvathisham

Kuchipudi – Sunil Kothari

KSSEEB Text Books for Kuchipudi– Junior



Pedagogy




Theory 70

Total 100


Page | 44



Semester 1

Course Title: Kuchipudi Nrittha Praveshika - Prayoga 1






Course Objectives:

To impart the knowledge of Kriyatmaka Abhayasa in Bhartanatyam

To impart the knowledge of Hastas and Bedhas

To train the student in abhinaya in few shlokas


Apply the knowledge of Kriyatmaka Abhayasa in Bhartanatyam

Evaluate the different types of acting on stage Hastas and Bedhas

Create and implement the Abhinaya in few shlokas.


outcomes (POs 1-12)


Outcomes (POs)


1) Apply the knowledge of Body

Movement, Voice and

Speech on Stage

X


acting on stage

X


Theoretical Acting on Stage

X




Page | 45

KUCHIPUDI - COURSE 2 Kuchipudi Nrittha Praveshika - Prayoga 1

Unit – 1: 13/14 Hrs


Chapter No.2: Bhramana Kriya( for all the Kriyas), Greeva

Kriya, Netra , Aramandala Kriya, Himmukha

Mummukha Kriya

Chapter No.3: Kaali Saamu- Foot Excercises, GunjiluSitups,

Dandaalu- , Kuppilu- Jumpimg

Unit – 2: 13/14 Hrs

Chapter No.4: Asamyutha /Samyutha Hastha- Drishti

According to Abhinaya Darpana with Shlokas


Chapter No.6: Pada Bedhas- Mandal and Utplavana Bedhas

According to Abhainaya Darpana

Unit – 3: 13/14 Hrs

Chapter No.7: Adavus: - Adavus- edaka Kriditha- Tham

digidigi thai ( 4 Variations)

Chaukam Adavu – Tha thai hi thai hitha tham

(3Variations) Pakka naatu, Venaka natu, Karthira

naatu - thai tha kitathaka (7 Variations) Ontadavu

Chapter No.8: Prarthana shloka of Ganesha , Shiva ,

Saraswathi, Vishnu

Chapter No.9: Abhinaya for Any 2 Shlokas from

Bhagavadgitha

Text Books

References


Natyashastra






Pedagogy




Practical 70

Total 100

Date Course Co-ordinator Subject Committee Chairperso

Page | 46




Semester I

Course Title: Kuchipudi Nrittha Praveshika- Shastra






Course Objectives:

To impart the knowledge of 8 Classical Dance forms of Indian

To impart the knowledge of Ramayana and Mahabharatha stories

To train the student in understanding the Stories from Puranas with reference to

Dance


Understand the different form of Indian Classical Dance

Analyze the need of puranas in Dnace

Create and implement the Dances from the stories of Puranas.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the different form of

Street Theatre

X

2) Analyse the need of street

theatre.

X

3) Create and implement in writing

the script for street play.

X


outcome.

Page | 47



Title of the course: Kuchipudi Nrittha Praveshika- Shastra

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

KUCHIPUDI - COURSE 1 THEORY Unit – 1 : 13/14 Hrs


Chapter No.2: Classification of Indian Dance-

Indian Classical Dance- Folk Dance- Ritualistic

Dance –Traditional

Chapter No.3: Introduction to the Study of Indian Folk Dances with

special reference to Folk dances of Andhra Pradesh

Unit – 2 : 13/14 Hrs

Chapter No.4: Study of Ramayana Stories with a special reference


Chapter No.5:Study of Mahabharatha Stories with a special

reference to Dancing them in Sancharis

Chapter No.6: Study of Stories from Puranas with special reference

to Dance

Unit – 3 : 13/14 Hrs


Kuchipudi – Siddhendra Yogi, Vempati Chinna Satyam,

Vedantam Satyanarayana Sharma, Raja Radha Reddy

Chapter No.8: Abhinaya Darpana Shlokas – Pushpanjali, Natyapatra

Guna Dosha, Patra Prana, Sabha lakshana, Kinkini

Lakshana, Natyakram

Chapter No.9: Importance of Vachikabhinaya and Telugu Literature

in Kuchipudi







Pedagogy




Practical 70

Total 100


Page | 48

Model Curriculum



Discipline Core: Kuchipudi



Program Outcomes:


Understand the different type of Classical Dance in India

Evaluate the different types of elements in Natyashastra

Create and implement the Abhinaya according to Natyashastra.


Evaluate the different types of Bedhas

Create and implement the essential elements of Bhavabhinaya in shlokas.



IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 49


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts in Dance (Kuchipudi)



Name of the Degree Program: BPA / BA / BA in Dance (Kuchipudi) Certificate

Discipline/ Subject: Dance (Kuchipudi)





Semester Title /

Name of the course

Program outcome that the

course addresses (not more than 3 per course)

Pre-

Requisite Course (s)

Pedagogy Assessment

Semester

1

Kuchipudi

Praveshika

Shastra– I



Classical Dance


between Hasths and Bedhas


Technical Terams of

Bharatanatyam

Pass in

Junior

Bharatanaty

am

Certificate

recognized

by

government

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Kuchipudi

Nrittha

Praveshika

- Prayoga 1


Kriyatmaka Abhayasa in

Bhartanatyam


acting on stage Hastas and

Bedhas


Abhinaya in few shlokas.

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Semester

2

Kuchipudi

Praveshika

Shastra– II


of Classical Dance in India


of elements in Natyashastra


Abhinaya according to

Natyashastra.

Pass in

Junior

Bharatanaty

am

Certificate

recognized

by

government

Assignment

and

Seminar

Final Exam

and Stage

Performanc

e

Kuchipudi Nrittha

Praveshika

- Prayoga

II



of Bedhas


essential elements of

Bhavabhinaya in shlokas.

Assignment and

Seminar

Final Exam and Stage

Performanc

e






learning)



Page | 50



Semester II

Course Title: Nritya Prakriya Shastra -2






Course Objectives:

To impart the knowledge of Indian Classical Dance

To impart the knowledge of Natyashastra.

To train the student in understanding the Abhinaya according to Natyashastra


Understand the different type of Classical Dance in India

Evaluate the different types of elements in Natyashastra

Create and implement the Abhinaya according to Natyashastra.


outcomes (POs 1-12)


Outcomes (POs)



Classical Dance in India

X


elements in Natyashastra

X

3) Create and implement Abhinaya

according to Natyashastra.

X




Page | 51


BPA Semester 2

Title of the course: Nritya Prakriya Shastra -2

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Unit – 1 : 13/14 Hrs

Chapter No.1: Classification of Indian Dance- Indian

Classical Dance- Folk Dance- Ritualistic Dance

–Traditional

Chapter No. 2: Introduction to the study of North Indian Folk

Dance forms

Chapter No.3: The study of Importance of Vachikabhinaya and

Telugu Literature in Kuchipudi

Unit – 2 : 13/14 Hrs

Chapter No.4: Lakshanas According to Abhinaya Darpana with Shlokas – Pushpanjali, Sabha lakshana, Kinkini Lakshana, Natyakrama

Chapter No.5: Lakshanas of Natyapatra Guna Dosha, Patra

Prana shlokas from Abhinayadarpana

Chapter No.6: Purvaranga, Brahmanjali, and Amba Paraku with

Notation

Unit – 3 : 13/14 Hrs

Chapter No.7: Brief Introduction to Chaturvidha Abhinaya

according to Natyashastra



Kuchipudi – Siddhendra Yogi, Vempati

Chinna Satyam, Vedantam Satyanarayana Sharma,

Raja Radha Reddy








Pedagogy




Practical 70

Total 100


Page | 52



Semester II







Course Objectives:

To impart the knowledge of Adavus in Kathak

To impart the knowledge of Different type of Bedhas

To train the student in understanding



Evaluate the different types of Bedhas

Create and implement the essential elements of Bhavabhinaya in shlokas.


outcomes (POs 1-12)


Outcomes (POs)



Adavus

X


Bedhas

X


essential elements of Bhavabhinaya

in shlokas.

X




Page | 53

KUCHIPUDI - COURSE 2 (Practical)

Nritya Prakriya - Prayoga – 2

Unit – 1: 13/14 Hrs Chapter No.1 Mandi Adavu( 7 Variation), Jaaru,( 3 Variation),

didithai adavi

Chapter No.2: Mande kuppa, palugudu varasa, chuttadavu, Chapter No.3: Khanda jaathi adavu, tisra jathi adavu, thathai hi tha

adavu, Mukthaya

Unit – 3: 13/14 Hrs

Chapter No.4: Pada bedhas According to Natyashastra

Chapter No.5: Sthanaka Bedha According to Natyashastra

Chapter No.6 : Any one Jatiswaram Unit – 3: 13/14 Hrs Chapter No.7: One Brahmanjali

Chapter No.8: Any one Shabdam Chapter No.9: Bhavabhinaya for each shloka from Krishna

Karnamritam and Tharangam Respectively








Pedagogy




Practical 70

Total 100


Page | 54




Semester II

Course Title: Kuchipudi Nritya Prakriya- Prayoga (Practical)






Course Objectives:

To impart the knowledge of Hastas and Bedhas

To impart the knowledge of Adavus in Kathak Dance

To train the student in understanding Abhinaya for Some Shlokas


Understand the Knowledge and use of Hastas and Bedhas.

Analyze the different Adavus in Kathak Dance

Create and implement the Abhinaya for few Shlokas


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the Knowledge and

use of Hastas and Bedhas

X

2) Analyze the different Adavus in

Kathak Dance

X


Abhinaya for few Shlokas

X


outcome.

Page | 55



Title of the course: Kuchipudi Nritya Prakriya- Prayoga (Practical)

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

KUCHIPUDI - COURSE 2

(Practicals) 39/42

Unit – 1 : 13/14 Hrs

Chapter No.1: Kaali Saamu- Foot Excercises, Gunjilu- Situps,

Dandaalu- , Kuppilu- Jumpimg


Chapter No. 3: Paadabedha –Mandala, Sthana, Utplavana, Bhramari, Chari Acording to Abhinayadrapana

Unit – 2 : 13/14 Hrs

Chapter No 4: Adavus- edaka Kriditha- Tham digidigi thai ( 4

Variations) Chaukam Adavu – Tha thai hi thai hitha

tham (3 Variations) Pakka naatu

Chapter No.5: Adavus- Mandi Adavu( 7 Variation), Jaaru,( 3

Variation), didithai adavi, Khanda jaathi adavu,

tisra jathi adavu, thathai hi tha adavu, Mukthaya

Chapter No.6: Mande kuppa, palugudu varasa, chuttadavu,

Unit – 3 : 13/14 Hrs

Chapter No.7: Abhinaya for Prarthana shlokas of Ganapathi and

Shiva (Each one)

Chapter No.8: Abhinaya for Any one shloka from Bhagavadgita

and Any one shloka from

Krishnakarnamritam

Chapter No.9: Any one Shabdam







Pedagogy



Marks


Practical 70

Total 100


Page | 56






Practical’s) with two major and one minor


Theatre Arts (Drama) as one of the major

B.P.A THEATRE ARTS (DRAMA)

Page | 57

Eligibility Criteria for Theatre Arts (Drama) Degree Admission

ELIGIBILITY: For B.A. / B.P.A Theatre Arts (Drama)./ Programmes:




other recognized Board / Diploma in Theatre / 3-year Diploma Course with any subject

or 2-year JOC / ITI of any subject / Certificate Course in Theatre Arts / Nataka Academy

Theatre workshop Certificates / Any Theatre School workshop certificate shall be

eligible.

or


Page | 58

I & II Semester Bachelor of Performing Arts – Theatre Arts (Drama)


(4+0+2)




(3+3)


Total Credits

Skill Based (Credits) (L+T+P)


I Theatre Arts/ Drama Drama A1 -(3) Drama A2 -(3) B 1 –(6) Theatre arts/Music-Karnatak/Hindustani/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE-1

Theatre Arts, Folk Dance, Dance (Bharatanatyam /Kathak / Kuchipudi) Music – (Karnatak, Hindustani, Mrudanga) (3)

L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Spoken English (2)

23

II Theatre Arts/ Drama Drama A3 -(3) Drama A4 -(3) B 2 -(6) Theatre arts/Music-Karnatak/Hindustani/ Optional Kannada/English Sanskrit/Telugu/ History/Economics/ Education/ Psychology

OE-2


L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Play

Production By Teachers (2)


learning (2)

25


Page | 59

Model Curriculum


Bachelor of Arts (Fine Arts)

Discipline Core: Theatre Arts / Theatre Arts Total Credits for the Program: 48








Apply the knowledge of Body Movement, Voice and Speech on Stage

Evaluate the different types of acting on stage

Create and implement the Theoretical Acting on Stage



IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 60


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine Arts)




Discipline/ Subject: Theatre Arts




internships etc. Elective courses may be listed separately Semester Title /

Name of

the course



course)

Pre-

Requisite

Course (s)

Pedagogy Assessment

Semester

1

Theatre

Arts /

Drama - Theory


development of Indian and

Karnataka Theatre.


between the Professional

Karnataka Theatre and Folk


Analyze the different era of

theatre.

Participati

on in at

least one theatre

production

s or

Theatre

Workshop.

Assignment

and

Seminar

Final Exam

Acting for

Stage – 1

(Practical)

Understand the different type of

short stories, poems and plays.


writing skills, acting skills and

speech work.

Create and implement the writing skills, acting skills and

speech work.

Working

knowledge

of English/

Kannada

Assignment

and

Seminar

Final Exam

And

Scene

Works

Semester

2

Theory-

Kannada

Drama

and

Literary

Heritage





speech work.



speech work.

Working

knowledge

of English/

Kannada

Assignment

and

Seminar

Final Exam

Acting for

Stage – 2

(Practical)


Short Telling, Poem Recitation

and Play.


Stage-Lighting, and Costume.


essential elements for paly

production.

Working

knowledge

of English/ Kannada

Assignment

and

Seminar

Final Exam

and

Play Production






learning)



Page | 61



Semester 1

Course Title: Theatre Arts / Drama






Course Objectives:


Theatre


Karnataka.


knowledge of Stage.







outcomes (Pos 1-12)



1) Remember the origin and development of Indian and

Karnataka Theatre

X

2) Understand the difference between the Professional

Karnataka Theatre and Folk Theatre of

Karnataka.

X

3) Analyse the different era of theatre. X


Page | 62

Bachelor of Performing Arts in THEATRE ARTS (DRAMA)

BPA Semester 1

Title of the course: Theatre Arts / Drama

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory INDIAN THEATRE – I 42 Hr

Unit – 1: 13/14 Hrs

Chapter No.1: Inclusive style of theatre in different stages of

evolution of civilization.

Chapter No. 2: Aims and Scopes of Drama/ Theatre Arts

Chapter No. 3: Brief introduction to folk Theatre forms of Karnataka

Unit – 2: 13/14 Hrs

Chapter No.4: Regional Theatre - Karnataka Folk Theatre Forms Yakshagana, Doddata, Sannata, Gondaligaru

Chapter No.5 : Brief Introduction to Indian Theatre –

Sanskrit Playwrights and Plays

Chapter No.6 : Karnataka Professional Theatre : Origin and development of Professional Theatre in Karnataka

Unit – 3: 13/14 Hrs

Chapter No.7: Karnataka Professional Theatre, Famous Companies,

Famous Actors,

Chapter No.8: Golden period of Karnataka Professional Theatre and Theatre Techniques. etc.

Chapter No.9: Karnataka Amateur Theatre Origin and development of

Amateur Theatre in Karnataka, Famous Organizations, Famous Actors, Theatre Techniques etc.

Text Books

References

Indian Theatre: Mulkraj Ananad

Indian Theatre: Adya Rangacharya

Sanskrit Theatre: Bhat

Folk Theatre forms of Indian: Balavanth Gargi

Karnataka Theatre: H.K. Ranganath

Kannada Theatre: T. S. Syamarao

Yakshagana: K Shivarama Karantha




Theory 70

Total 100


Page | 63

Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine

Arts)

Semester 1

Course Title: Theatre Arts – Acting for Stage-1






Course Objectives:

To impart the knowledge of Body Movement, Angika Abhinaya and

To impart the knowledge of Angika and Satvika Abhinaya

To train the student in Method Acting for stage, Improvisation, and work on

Ground Plan of Stage






outcomes (POs 1-12)


Outcomes (POs)



Movement, Voice and

Speech on Stage

X


acting on stage

X



X




Page | 64

THEATRE ARTS - COURSE 2

Acting for Stage - 1

Unit – 1: 13/14 Hrs

Chapter No.1: Physical Exercise, for essential manifest exercises for flexible

movement of body organs.

Chapter No.2: Kolata, Theatre Games, and Yoga, Voice and Speech,

Developing and Effective Voice, Anatomy of The Vocal

Tract, Breath Control, Organs of Speech, Voice Production,

Knowledge of Pitch, Projection, Modulation, Articulation, Tempo Techniques of correct speech etc.

Chapter No.3: Angika Abhinaya: Natya Darmi & Lokadarmi Satvika Abhinaya: Bhava, Rasa

Unit – 2: 13/14 Hrs

Chapter No.4: Practising preliminary’s, Exercise for Voice, Speech and

Body, Relaxation, Posture, Gesture and Movement, Breathing, Falling, Turing, Sitting, Rising, Kneeling,

Stooping, Lighting walking, Stage Crossing, Turns, and Foot

work using the set and properties appropriate.

Chapter No.5: Improvisation (Preliminary) Mime (Preliminary) Principles

of Design: Composition, Colour Lines and Marks etc.

Chapter No.6: Ground plan of the stage and its division (Scale Drawing),

Front and Side Elevation, Stage Designing for particular situation, Preliminary knowledge of units of sets, Types of

curtains and furniture preparation of stage properties.

Unit – 3: 13/14 Hrs

Chapter No.7: Absorption of the organs, Facial Expression.

Chapter No.8: Actor’s Preparedness according to Konstantin Stanislavski’s

Acting Theory

Chapter No.9: Character Preparation according to Konstantin Stanislavski’s

Acting Theory

Text Books

References

Introduction to ‘The Art of Theatre’ A Comprehensive Text – Past, Present & Future: By Marsh

Cassady

Actors Prepare by Konstantin Stanislavski’s

Creating a Role by Konstantin Stanislavski’s

Building a Character by Konstantin Stanislavski’s

The Book of Monologues and Revelation: Original contemporary Dramatic and Comedic

Performing Monologues for Actors and Audiences - By Nick C Koroyanis

Pedagogy




Theory 70

Total 100


Page | 65




Semester I

Course Title: Street Theatre (Theory)






Course Objectives:

To impart the knowledge of origin and development of Street Theatre

To impart the knowledge of Indian and Karnataka Street Thetare

To train the student in understanding the need of Street Theatre


Understand the different form of Street Theatre

Analyze the need of street theatre.

Create and implement in writing the script for street play.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the different form of

Street Theatre

X

2) Analyse the need of street

theatre.

X

3) Create and implement in writing

the script for street play.

X


outcome.

Page | 66

BPA. THEATRE ARTS (DRAMA)


Title of the course: Street theatre (Theory)

Course 1 Course 2

Number of

Theory Credits

Number of

lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

THEATRE ARTS - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs

Chapter No.1: Origin and Development of Street Theatre

Chapter No. 2: Indian Street Theatre

Chapter No. 3: Street Theatre and Society

Unit – 2 : 13/14 Hrs

Chapter No.4: Street Theatre Technicians

Chapter No.5: Karnataka Street Theatre

Chapter No.6: Difference between Street Theatre and Modern Theatre

Unit – 3 : 13/14 Hrs

Chapter No.7: Street Theatre Play writers

Chapter No.8: Street Theatre Directors

Chapter No.9: Street Theatre Organisations

Text Books

References

Beedi Nataka by Nagesh Bettakote

Halla Bol by Sudhanva Deshpande

Street Play by J N Mohan

Pedagogy




Practical 70

Total 100


Page | 67

Model Curriculum



Discipline Core: Theatre Arts / Theatre Arts



Program Outcomes:










IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 68


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / Bachelor of Arts (Fine Arts)




Discipline/ Subject: Theatre Arts





Semester Title /

Name of

the course



course)

Pre-

Requisite

Course (s)

Pedagogy Assessment

Semester

1

Theatre

Arts /

Drama -

Theory


development of Indian and

Karnataka Theatre.






theatre.

Participati

on in at

least one

theatre

production

s or

Theatre Workshop.

Assignment

and

Seminar

Final Exam

Acting for

Stage – 1

(Practical)





speech work.



speech work.

Working

knowledge

of English/

Kannada

Assignment

and

Seminar

Final Exam

And

Scene

Works

Semester

2

Theory-

Kannada

Drama and

Literary

Heritage



Evaluate the different types of writing skills, acting skills and

speech work.



speech work.

Working

knowledge

of English/ Kannada

Assignment

and

Seminar

Final Exam

Acting for

Stage – 2

(Practical)


Short Telling, Poem Recitation

and Play.


Stage-Lighting, and Costume.


essential elements for paly production.

Working

knowledge

of English/

Kannada

Assignment

and

Seminar

Final Exam

and

Play

Production






learning)



Page | 69



Semester II

Course Title: Theory Kannada Drama and Literary Heritage






Course Objectives:

To impart the knowledge of Modern poets and Play Writes.

To impart the knowledge of plays like Mitravinda Govinda, Shakuntala,

Prameelar Janeeya and Aswathaman.

To train the student in understanding the plays by famous play writers of

Karnataka.






outcomes (POs 1-12)


Outcomes (POs)



short Stories, Poems and

Plays.

X


writing skills, acting skills

and speech work.

X

3) Create and implement the writing

skills, acting skills and

speech work.

X




Page | 70

Bachelor of Performing Arts in THEATRE ARTS (DRAMA)

BPA Semester 2


Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42


Kannada Drama and Literary Heritage

Unit – 1 : 13/14 Hrs

Chapter No.1: Pampa (Bheeshma Pattabisheka)

Vachanakarara (Siddarama Prasansa in

Sunyasampadane)

Chapter No.2: Kumaravysa (Drowpadi Vastrapaharana Prasanga)

Chapter No.3: Modern Poetics : Kuvempu, Bendre, Putina,

Gopalakrishna Adiga, K. S. Narasimma Swamy,

Siddalingaiah, (Each two selected poems)

Unit – 2 : 13/14 Hrs

Chapter No.4: Mitravinda Govinda

Chapter No.5: Shakuntala

Chapter No.6: Prameelar Janeeya & Aswathaman

Unit – 3 : 13/14 Hrs

Chapter No.7: Raktha Ratri (Kandagal Hanumantha Rayaru)

Paduka Pattabhishekam (Garudasana Shivarge)

Kurukshetra (B. Puttaswamyya) Prachandaravana (Kanagal Prabhakara Shashtri)

Chapter No.8: Samsa (Vigadavikramaraya)

Kailsam (Tollugatti) Sriranga (Rangabharatha)

Kuvempu (Smashana Kurukshetra)

Pu. Ti Narasiṃhācār (Gokulanirgamana)

Chapter No.9: Modern Play Writers Grisih Karnad (Taledanda)

P. Lankesh (Sankranti)

Dr. Chandrashekar Kambar (Jokumaraswamy) H.S. Shivaprakash (Madari Madiah)


The Text (Play or Play Writers Name) Mentioned above in the Syllabus are the books to

be referred.

Pedagogy




Practical 70

Total 100


Page | 71



Semester II

Course Title: Theatre Arts – Acting for Stage-2






Course Objectives:

To impart the knowledge of Voice Modulation, Acting for Stage and Character

Building.

To impart the knowledge of Stage-Lighting, Sound, Make-Up and Costume

To train the student in understanding the needful elements for play production.






outcomes (POs 1-12)


Outcomes (POs)



short stories, poems and

Plays.

X


Stage-Lighting, and

Costume.

X


essential elements for paly

Production.

X




Page | 72

THEATRE ARTS - COURSE 2 (Practical) Acting for Stage – 2

Unit – 1: 13/14 Hrs Chapter No.1: Tools of an actor -Voice & Speech, Pitch, Volume, Stress,

Pause, Emphasis, Introduction, Tempo Psychological-

Concentration, Memory Imagination, Observation

Chapter No.2: Study of important dialects of Kannada, Preparing Small scenes Mono acting, Exercises, Recitations of 3 Poems.

Chapter No.3: Soliloquy of Major Characters from well-known Plays

in Kannada Practising shlokas with timings, Story Telling, Play Reading (Individual & Group),

Improvisation (Individual & Group) Mime and

Movements (Individual & Group)

Unit – 2: 13/14 Hrs Chapter No.4: Absorption of the organs, Facial Expression. Chapter No.5: Actor’s Preparedness according to Konstantin Stanislavski’s Acting Theory


Acting Theory

Unit – 3: 13/14 Hrs Chapter No.7: Introduction to basics of stage carpentry:

Tools Materials construction of flats door flats window flats

application of painting techniques the importance of scenery in play production of different types of sceneries.

Chapter No.8: Light & Sound:

History of stage lighting, Functions of stage lighting, General

practice of stage lighting, Controllable properties of colours and its effects. The importance of stage, sound effects, use of

microphones, correction of sound effects.

Chapter No.9: Costume:

Making low budget costumes like crowns, jewels, belts tying pagadies, General principle and procedure of costume

designing, costume and actors preliminary sketching for

designing preparation of masks, designing costumes for few individuals and characters

Text Books

References

Sound and Music for the Theatre: The Art & Technique of Design by Deena Kaye

Sound Design in the Theatre Hardcover – By John L Bracewell

Stage Ideas: Set and costume design for theatre paperback – by Stephen Curtis

Theatre Design: Behind the scene with the Top Set, Lighting, and Costume Designers by

Babak Ebrahimian

Pedagogy




Practical 70

Total 100


Page | 73




Semester II

Course Title: Play Production (Practical)






Course Objectives:

To impart the knowledge of Script Writing.

To impart the knowledge of Technical Aspects of Play Production.

To train the student in understanding the Process of Play Production.


Understand the process of Script Writing and Play Production.

Analyze the process of play production.

Create and implement the play production.


outcomes (POs 1-12)


Outcomes (POs)


1) Understand the process of Script

Writing and Play Production.

X

2) Analyze the process of play

production.

X

3) Create and implement the play

production.

X


outcome.

Page | 74

BPA. THEATRE ARTS (DRAMA) BPA Semester 2, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: Play Production (Practical)

Course 1 Course 2

Number of

Theory Credits

Number of

lecture

hours/semester

Number of Practical

Credits

Number of lecture

hours/semester

3 42 3 42

THEATRE ARTS - COURSE 2 (Practical) 42

Unit – 1 : 13/14 Hrs

Chapter No.1: Script Reading

Chapter No. 2: Character and Play Production

Chapter No. 3: Production Script Preparation

Unit – 2 : 13/14 Hrs

Chapter No.4: Production Planning

Chapter No.5: Assistant Director, Cast and Technical

Rehearsal – Blocking and Design works Rehearsal – Blocking and Paper works

Chapter No.6: Rehearsal and Model Designs

Unit – 3 : 13/14 Hrs

Chapter No.7: Makeup, Lights, Properties and Sets

Chapter No.8: Technical Rehearsal, Grand Rehearsal – Invite

audience, Practical Record Submissions

Chapter No.9: Final Show Execution.

Text Books

References

Theatre: Its Art and Craft by Cynthia M Gendrich

Fundamentals of Theatrical Design by Karen Brewster

Pedagogy




Practical 70

Total 100


Page | 74

National Educational Policy – 2020







Theatre Arts (Drama) as one of the major

B.A THATRE ARTS (DRAMA)

Page | 75


DEGREE PROGRAM

Bachelor of Arts in Theatre Arts (Drama)



Name of the Degree Program: BPA / BA / BA in Theatre Arts (Drama) Discipline/ Subject: Theatre Arts





Semester Title /

Name of

the course



course)

Pre-

Requisite

Course (s)

Pedagogy Assessment

Semester

1

Theatre

Arts /

Drama -

Theory

Remember the origin and development of Indian and

Karnataka Theatre.






theatre.

Participati

on in at

least one

theatre

production

s or

Theatre

Workshop.

Assignment

and

Seminar

Final Exam

Acting for

Stage – 1

(Practical)





speech work.



speech work.

Working

knowledge

of English/

Kannada

Assignment

and

Seminar

Final Exam

And

Scene

Works






learning)



Page | 76

Bachelor of Arts in Theatre Arts (Drama) Semester 1

Course Title: Theatre Arts / Drama






Course Objectives:


Theatre


Karnataka.


knowledge of Stage.







outcomes (Pos 1-12)



1) Remember the origin and development of Indian and

Karnataka Theatre

X

2) Understand the difference between the Professional

Karnataka Theatre and Folk Theatre of

Karnataka.

X

3) Analyse the different era of theatre. X


Page | 77


BA Semester 1


Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory INDIAN THEATRE – I 42 Hr

Unit – 1: 13/14 Hrs

Chapter No.1: Inclusive style of theatre in different stages of

evolution of civilization.

Chapter No. 2: Aims and Scopes of Drama/ Theatre Arts

Chapter No. 3: Brief introduction to folk Theatre forms of

Karnataka

Unit – 2: 13/14 Hrs

Chapter No.4: Regional Theatre - Karnataka Folk Theatre

Forms

Yakshagana, Doddata, Sannata, Gondaligaru

Chapter No.5 : Brief Introduction to Indian Theatre –

Sanskrit Playwrights and Plays

Chapter No.6 : Karnataka Professional Theatre : Origin and

development of Professional Theatre in

Karnataka

Unit – 3: 13/14 Hrs

Chapter No.7: Karnataka Professional Theatre, Famous

Companies,

Famous Actors,

Chapter No.8: Golden period of Karnataka Professional

Theatre and

Theatre Techniques. etc.

Chapter No.9: Karnataka Amateur Theatre Origin and

development of Amateur Theatre in Karnataka, Famous

Organizations, Famous Actors, Theatre Techniques etc.


Indian Theatre: Mulkraj Ananad

Indian Theatre: Adya Rangacharya

Sanskrit Theatre: Bhat

Folk Theatre forms of Indian: Balavanth Gargi

Karnataka Theatre: H.K. Ranganath

Kannada Theatre: T. S. Syamarao

Yakshagana: K Shivarama Karantha




Theory 70

Total 100


Page | 78


BA Semester 1, Discipline Elective (DSE)/Open Elective (OE)

Semester 1

Course Title: OEC Theatre Arts – Acting for Stage






Course Objectives:

To impart the knowledge of Body Movement, Angika Abhinaya and

To impart the knowledge of Angika and Satvika Abhinaya

To train the student in Method Acting for stage, Improvisation, and work on

Ground Plan of Stage






outcomes (POs 1-12)


Outcomes (POs)



Movement, Voice and

Speech on Stage

X


acting on stage

X



X




Page | 79

THEATRE ARTS /Drama

Acting for Stage

Unit – 1: 13/14 Hrs

Chapter No.1: Physical Exercise, for essential manifest exercises for flexible

movement of body organs.

Chapter No.2: Kolata, Theatre Games, and Yoga, Voice and Speech,

Developing and Effective Voice, Anatomy of The Vocal

Tract, Breath Control, Organs of Speech, Voice Production,

Knowledge of Pitch, Projection, Modulation, Articulation,

Tempo Techniques of correct speech etc.

Chapter No.3: Angika Abhinaya: Natya Darmi & Lokadarmi

Satvika Abhinaya: Bhava, Rasa

Unit – 2: 13/14 Hrs

Chapter No.4: Practising preliminary’s, Exercise for Voice, Speech and

Body, Relaxation, Posture, Gesture and Movement,

Breathing, Falling, Turing, Sitting, Rising, Kneeling,

Stooping, Lighting walking, Stage Crossing, Turns, and Foot

work using the set and properties appropriate.

Chapter No.5: Improvisation (Preliminary) Mime (Preliminary) Principles

of Design: Composition, Colour Lines and Marks etc.

Chapter No.6: Ground plan of the stage and its division (Scale Drawing),

Front and Side Elevation, Stage Designing for particular

situation, Preliminary knowledge of units of sets, Types of

curtains and furniture preparation of stage properties.

Unit – 3: 13/14 Hrs

Chapter No.7: Absorption of the organs, Facial Expression.

Chapter No.8: Actor’s Preparedness according to Konstantin Stanislavski’s

Acting Theory


Acting Theory


Introduction to ‘The Art of Theatre’ A Comprehensive Text – Past, Present & Future: By Marsh

Cassady

Actors Prepare by Konstantin Stanislavski’s

Creating a Role by Konstantin Stanislavski’s

Building a Character by Konstantin Stanislavski’s

The Book of Monologues and Revelation: Original contemporary Dramatic and Comedic

Performing Monologues for Actors and Audiences - By Nick C Koroyanis

Pedagogy




Theory 70

Total 100


Page | 80








Music (Karnataka Music) as one of the major

MUSIC (KARNATAKA MUSIC)

Page | 81

Eligibility Criteria for Music Degree Admission

ELIGIBILITY: For B.A. / B.P.A Music (Karnataka Music) Programmes:





Diploma in Music / 3-year Diploma Course with any subject or 2-year JOC / ITI of any


or

PUC pass with Music as one of the subject

or

PUC with Government Recognized Junior in Music (Karnataka Music)

or


Page | 82


Music (Karnataka Music, Vocal / Instrumental)


(4+0+2)




(3+3)


Total Credits



I Music Karnataka Music, Vocal / Instrumental A1 -(3) Karnataka Music, Vocal / Instrumental A2 - -(3) B- 1 –(6) Theatre Arts/Music- Karnataka /Hindustani/ Gamaka (Kavya Vaachana) Optional Kannada/English Sanskrit/Telugu/ History/Economics / Mrudanga.

OE-1


L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Spoken English (2)

23

II Music Karnataka Music, Vocal / Instrumental A1 -(3) Karnataka Music, Vocal / Instrumental A2 - -(3) B- 1 –(6) Theatre Arts/Music- Karnataka /Hindustani/ Gamaka (Kavya Vaachana) Optional Kannada/English Sanskrit/Telugu/ History/Economics / Mrudanga.

OE-2


L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Envirnomental Science (2)


learning (2)

25


Page | 83

Model Curriculum


BA(Fine Arts) / Bachelor of Arts in Music (Karnataka Music)

Discipline Core: Karnataka Classical Musicology





Sing or play an instrument basic music lessons

understand basic theoretic concept of Karnataka music

Acquire basic in introductory knowledge of prescribed Raga Lakshana

Understand the life and contribution of some great composers.

Apply the knowledge of Geetas and Ragaas

Evaluate the different types of Swarajati and Varnas

Create and implement the Theoretical aspects of signing Mayamalavagowda Raga



IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 84


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts)

Bachelor of Arts in Music (Karnataka Music)



Name of the Degree Program: BPA / BA / BA (Fine Arts)

Discipline/ Subject: Karnataka Classical Musicology





Semester Title / Name of

the course

Program outcome that the course addresses (not more

than 3 per course)

Pre-Requisite Course (s)

Pedagogy Assessment

Semester

1

Karnataka

Classical

Musicolog

y- Phase 1

Theory

Sing or play an instrument

basic music lessons

understand basic theoretic

concept of Karnataka music

Acquire basic in

introductory knowledge of

prescribed Raga Lakshana

Understand the life and

contribution of some great

composers.

The Student

Passed in

Junior Music a

certificate

Recognised by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Karnataka

Classical

Musicology- Phase 1

Practical


Geetas and Ragaas


of Swarajati and Varnas


Theoretical aspects of

signing Mayamalavagowda

Raga

Assignme

nts and

seminars

Final Exam

and stage

performances

Semester

2

Karnataka

Classical

Musicolog

y- Phase 1

Theory

Understand the different

type Chaturvidha Abhinaya.





The Student

Passed in

Junior Music a

certificate

Recognised by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Karnataka

Classical

Musicolog

y- Phase 1

Practical


Geetas and Ragaas



Create and implement the Theoretical aspects of


Raga

Assignme

nts and

seminars

Final Exam

and stage

performanc

es






learning)



Page | 85

Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts)


Semester 1

Course Title: Karnataka Classical Musicology- Phase 1 Total Contact Hours: 42 Course Credits: 3





Course Objectives:

The course aim at providing basic knowledge of Karnataka music to students.

This course also aims at providing basic theoretical knowledge of Karnataka

music to students.


Sing or play an instrument basic music lessons





outcomes (Pos 1-12)



1)Understand basic theoretic concept of Karnataka music X 2) Acquire basic in introductory knowledge of prescribed Raga

Lakshana X

3) Understand the life and contribution of some great composers. X Mark ‘X’ in the intersection cell if a course outcome addresses a particular program outcome.

Page | 86

Bachelor of Performing Arts in Music (Karnataka Music)

Semester 1, B. Music (Hons) Common to vocal and Instruments

BA (Fine Arts)

Title of the course: Karnataka Classical Musicology- Phase 1

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory KARNATAKA

CLASSICAL MUSICOLOGY

39/42 Hr

Unit – 1: Man and Music 13/14 Hrs

Chapter No.1: Music to Nature

Chapter No. 2: Folk Music *

Chapter No. 3: Folk Music Instruments

Unit – 2: Rhythm and Tala 13/14 Hrs

Chapter No.4: Laya Definition. Laya Varieties

Chapter No.5: Tala Definition

Chapter No.6: Tala Varieties

Unit – 3: Shruti and Swara and raga 13/14 Hrs

Chapter No.7: Shruti -Definition

Chapter No.8: Swara – Definition & Nomenclature

Chapter No.9: Raga – Defination & Classification And Raga lakshana and the raga learnt in practical class

Text Books / References a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya

b) History of South Indian Music by Prof. P Sambamoorthy

c) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy

d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath Kumaraacharya

e) History of Indian Music by O Goswami

f) Historical Development of Indian Music by Swami Pragnyananda

g) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar

h) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana

i) Mahaviydanatha Iyer by Dr. C A Sridhar

j) Indian Music Instruments by B. C. Deva

k) Bharathan Natayashasthra by Sreeranga

Pedagogy




Theory 70

Total 100


Page | 87


Semester 1, B. Music (Hons) Common to vocal and Instruments

BA Fine Arts.

Course Title: Karnataka classical Musicology Phase I






Course Objectives:

To impart the knowledge of Different type of geetas

To impart the knowledge of Raga and Varnas

To train the student in Swarajati and Varnas






outcomes (POs 1-12)


Outcomes (POs)


1) Apply the knowledge of Geetas an

ragas

X

2) Evaluate the ypes of Swarajati and

Varnas

X


Theoretical Theoretical aspects of

signing Mayamalavagowda Raga

X




Page | 88

Music- COURSE 2 Karnataka Classical Practical Music Phase I

Unit – 1: Geethas - Stage I 13/14 Hrs Chapter No.1: Ghana Raga Geetha in the Raga Nata

Chapter No.2: Lakshana Geetha in the Raga Mohana Chapter No.3: Janti Varase, Alankaras - 7, Pillari Geete – 1,Pillari Geete – 1

Unit – 2: Swarajath & Varnas: Sateg I 13/14 Hrs Chapter No.4: Swarajathi in the Raga Bilahar

Chapter No.5: Swarajathi in the Raga Harikambhoji

Chapter No.6: Varna in the Raja Kalyani Set to Aditala (one speed)

Varna in the Raga Sri Mohana set to Aditala (one speed )

Unit – 3: Krities - Stage 1 and Music Composition - Stage 1 13/14 Hrs

Chapter No.7: Madhyamakala Kriti in Raga Hamsadhwani

Chapter No.8: Madhyama Kriti in the Raga Mayamalavagowda

Vilamba Kala Kriti in the Raga - Mohana

Chapter No.9: Music Composition:

Devaranama -2

Vachana -2

Nadageethe -2 Nadageetye -2

Text Books

References

a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar

Acharya



d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath

Kumaraacharya








Pedagogy




Practical 70

Total 100


Page | 89



BA (Fine Arts)

Title of the course: Karnataka classical Musicology Phase II

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Karnataka Music - COURSE 1 THEORY

Unit – 1 : 13/14 Hrs

Chapter No.1: Brief History of Indian Music

Chapter No. 2: Life History of the following Purandaradasa

Chapter No. 3: Life History of the following Basavanna

Unit – 2 : 13/14 Hrs

Chapter No.4: Brief knowledge of the following technical terms:

a) Naada b) Shruthi

Chapter No.5: Brief knowledge of the following technical terms:

a) Swara b) Taala

Chapter No.6: Brief knowledge of the following technical terms: a) Sthayi b) Aarohana and Avarohana

Unit – 3 : 13/14 Hrs

Chapter No.7: Impact of Music on Society - Social values

Chapter No.8: Impact of Music on Society - Cultural and Spiritual values

Chapter No.9: Brief knowledge of the Ragas learnt in practical course 1.2

Text Books

References a) Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya



d) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath Kumaraacharya








Pedagogy




Practical 70

Total 100


Page | 90

Model Curriculum

Name of the Degree Program: Bachelor of Performing Arts / Bachelor of Arts / BA fine


Discipline Core: Karnataka classical Musicology Phase II



Program Outcomes:


Sing / play on the instruments introductory Karnataka music lessons.



Create and implement the Bhavas and Rasas in Bharatanayam.






IA


Theory 30 70

Practical 30 70

Projects 30 70



30 70

Page | 91


DEGREE PROGRAM Bachelor of Performing Arts / Bachelor of Arts / BA (Fine Arts) /




Name of the Degree Program: BPA / BA /

Discipline/ Subject: Karnataka Classical Musicology





Semester Title / Name of

the course

Program outcome that the course addresses (not more

than 3 per course)

Pre-Requisite Course (s)

Pedagogy Assessment

Semester

1

Karnataka

Classical

Musicolog

y- Phase 1

Theory

Sing or play an instrument

basic music lessons

understand basic theoretic

concept of Karnataka music

Acquire basic in

introductory knowledge of

prescribed Raga Lakshana

Understand the life and

contribution of some great

composers.

The Student

Passed in

Junior Music a

certificate

Recognised by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Karnataka

Classical

Musicology- Phase 1

Practical


Geetas and Ragaas




Theoretical aspects of


Raga

Assignme

nts and

seminars

Final Exam

and stage

performances

Semester

2

Karnataka

Classical

Musicolog

y- Phase 1

Theory

Understand the different

type Chaturvidha Abhinaya.





The Student

Passed in

Junior Music a

certificate

Recognised by

Government

Assignme

nts and

seminars

Final Exam

and stage

performanc

es

Karnataka

Classical

Musicolog

y- Phase 1

Practical


Geetas and Ragaas



Create and implement the Theoretical aspects of


Raga

Assignme

nts and

seminars

Final Exam

and stage

performanc

es






learning)



Page | 92


Bachelor of Arts in Music (Karnataka Music)/ (BA Fine Arts)

Semester II

Course Title: Karnataka classical Musicology Phase II






Course Objectives:

This course aims at providing more introductory basic knowledge of Karnataka

practical music to students.

This course also aims at providing more introductory basic theoretical knowledge

of Karnataka music to students.



Understand basic introductory theoretical concept of Karnataka music.

Acquire basic introductory more knowledge of prescribed Raga Lakshana.

Understand the life and contribution of some legendary great Karnataka music composers


outcomes (POs 1-12)


Outcomes (POs)


1)Understand basic introductory theoretical concept of Karnataka music.

X

2)Acquire basic introductory more

knowledge of prescribed Raga

Lakshana.

X

3)Understand the life and contribution of

some legendary great Karnataka music

composers

X




Page | 93

Bachelor of Performing Arts in Music (Karnataka Music) /

BA (Fine Arts) BPA Semester 2

Title of the course: Karnataka classical Musicology Phase II (Common to vocal

& Instruments) Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42


Unit – 1 : Musical Terminologies 13/14 Hrs

Chapter No.1: Sangeeth-Defination & Explanation

Nada – Nadotpatti, Anata – Anahata. Definition &

Explanation

Chapter No.2: Swara- Prakruti & Vikruti, Dwadasha & Shodasha Swaras

Definations & Explanation.

Chapter No.3: Kala- Prathama, Dwitiya & Tritiya Explanation. 13/14 Hrs

Unit – 2 : Lakshana of the Compositional Forms

Chapter No.4: Pillari Geeth – Lakshana Geethe - Sanchis Geetha

Chapter No.5: Jatiswara- Swarajathi, Tanavarna - Padavarna

Chapter No.6: Kriti - Keertane 13/14 Hrs

Unit – 3 : Raga Lakshana & Composers

Chapter No.7: Nata, Kambhoji, MayamalavaGowla, Jhnijuti,

Chapter No.8: Kadanakutuhala, Shankalabhalana, Kamavardhai,

Chakravaka & Kamachi.

Chapter No.9 : a) Life, Achievement & Contribution of Sri Muthuswami Dixitar to Karnataka Music b) Life, Achievement & Contribution of Sri

Shyamashastri to Karnataka Music


Karnataka Sangeeta Deepika By Prof. V Ramarathnam and Dr V. S. Sampath Kumar Acharya

a) History of South Indian Music by Prof. P Sambamoorthy

b) Sangeeta Lakshya Lakshan Sangrah by Dr. Padma Murthy

c) Karnataka Sangeetha Sudha by Prof. V Ramarathnam and Dr V S Sampath

Kumaraacharya

d) History of Indian Music by O Goswami

e) Historical Development of Indian Music by Swami Pragnyananda

f) History of South Indian Music (Carnatic) By R Ranga Ramanuja Iyengar

g) Karnataka Sangeetha Vahini by Dr. R. Satyanarayana

h) Mahaviydanatha Iyer by Dr. C A Sridhar

i) Indian Music Instruments by B. C. Deva

j) Bharathan Natayashasthra by Sreeranga

Pedagogy




Practical 70

Total 100


Page | 94


Bachelor of Arts in Music (Karnataka Music), BA (Fine Arts)

Semester II

Course Title: Karnataka Classical Practical Music Phase II






Course Objectives:

This course aims at providing more introductory basic knowledge of Karnataka

practical music to students.

This course also aims at providing more introductory basic theoretical knowledge

of Karnataka music to students.



Understand basic introductory theoretical concept of Karnataka music.

Acquire basic introductory more knowledge of prescribed Raga Lakshana.

Understand the life and contribution of some legendary great Karnataka music

composers.


outcomes (POs 1-12)


Outcomes (POs)


1)Understand basic introductory

theoretical concept of Karnataka

music.

X

2)Acquire basic introductory more

knowledge of prescribed Raga

Lakshana.

X

3)Understand the life and

contribution of some legendary great

Karnataka music composers.

X




Page | 95

Karnataka Classical Music - Course 2 (Practical)

Unit – 1: Geethas - Stage II 13/14 Hrs

Chapter No.1: Ghana Raga Geetha in the Raga Nata Chapter No.2: Lakshana Geetha in the Raga Mayamalava Gowla Chapter No.3:

Unit – 2: Swarajath & Varnas: sateg II 13/14 Hrs

Chapter No.4: Swarajathi in the Raga Kambhoji

Chapter No.5: Swarajathi in the Raga Jhunjuti

Chapter No.6: Varna in the Raja Kadana Kutuhala Set to Aditala

Varna in the Raga Shaakalabhalawa set to Aditala

Unit – 3: Krities - Stage 2 and Music Composition - Stage 2 13/14 Hrs Chapter No.7: Madhyama kala Kriti in Raga kamavardhani

Chapter No.8: Madhyama Kriti in the Raga Chakravaka

Vilamba Kala Kriti in the Raga - Kamach

Chapter No.9: Music Composition:

Devaranama -2 Vachana-2

Patriotic Song- 2



Acharya




Kumaraacharya








Pedagogy




Practical 70

Total 100


Page | 96


BA (Fine Arts ) / BPA Semester 2, Discipline Elective (DSE)/ Open

Elective (OE)

Title of the course: Karnataka Classical Music

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of

Practical Credits

Number of lecture

hours/semester

3 42 3 42

Karnataka Music - COURSE 2 39/42

Unit – 1 : 13/14 Hrs Chapter No.1: Brief Concept and definition of the term ‘Raga’

Chapter No. 2: Brief Concept and definition of the term 'Tala'

Unit – 2 : 13/14 Hrs Chapter No.3: Brief introduction to Folk Music of Karnataka

Chapter No.4: Brief knowledge of Musical instruments of South India

Unit – 3 : 13/14 Hrs Chapter No.5: Brief Lakshanas of the Ragas learnt in practical Paper 2.2



Acharya




Kumaraacharya








Pedagogy




Practical 70

Total 100


Page | 95

B.A/ B.P.A/ B.A (Fine Arts) in KARNATA MUSIC

Semester 1 GAMAKA

Course Title: (DSCC) Gamaka-I Theory-I and Gamaka-I Practical-I

Total Contact Hours: L42 + P65 Course Credits: 3+3

Formative Assessment Marks: 30 (15+15)

Duration of ESA/Exam:3 hours theory

subject and 20 minutes duration for each

candidate in practical subject

Model Syllabus Authors: Summative Assessment Marks: 70

L= Lecture P=Practical

Course Objective:



music to

Course Outcomes (COs):

After successfully completing of the course the student will be able to

understand basic practical concept of Karnataka music

sing or play an instrument basic music lesson




Course Articulation Matrix: Mapping of Course Outcomes (COs) with

Program Outcomes (POs 1-12)

Course Outcomes (COs) /

Program Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12

1. Semester (COs 1-3) (POs 1-9)

2.

3

Course Articulation Matrix relates course outcomes of course with the corresponding program

outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a

course outcome addresses a particular program outcome.

Page | 96


Semester 1 GAMAKA

Title of the course: Karnataka Music : Gamaka

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Practical

Credits

Number of

lecture

hours/semester

3 42 3 42

GAMAKA - COURSE 1 THEORY

Unit – 1: Gamaka- Explanations 14

Chapter No.1: Definition and Explanation.

Chapter No. 2: Antiquity, Origin and Development.

Chapter No. 3: History of Gamaka

Unit – 2: Raagalakshanas 14

Chapter No.4: Nata, Kalyani

Chapter No.5: Mohana, Natakuranji

Chapter No.6: Bhairavi, Shudda Saveri and Arabhi, Begade

Unit – 3: Prominent Mahakavis and Kaavya Bhagas with Prosodies an

Introduction

14

Chapter No.7: Prominent Mahakavis 1:

a) Kumaravyasa b) Torave Narahari

Chapter No.8: Prominent Mahakavis 2:

a) Harihara b) Raaghavanka

Chapter No.9: Kaavya Bhagas with (?): a) Gadugina Bhalata

b) Harishchandra Kavya

c) Torave Ramayana

d) Girija kalyana


Pedagogy



Total


Page | 97

GAMAKA - COURSE 2 PRACTICALS

Unit – 1: Uttarana Pourusha in Kumaravyasa Bhalata 14

Chapter No.1: 10 poems



Unit – 2: Mudrika Pradana in Torave Ramayana 14




Unit – 3: Tiruneelakanta in Hariharana Ragale and

Chandramati Pralapa in

Harishchandra Kavya

14

Chapter No.7: Tiruneelakanta in Hariharana Ragale – 150 lines.

Chapter No.8: Chandramati Pralapa in Harishchandra Kavya 1: 5

poems

Chapter No.9: Chandramati Pralapa in Harishchandra Kavya 2: 5 poems

Text Books References

Pedagogy



Total


Page | 98


Semester 2 GAMAKA

Course Title: (DSCC) Gamaka-I Theory-I and Gamaka-I Practical-I



Duration of ESA/Exam:3 hours theory





Course Pre-requisite(s):

Course Objective:

This course aims at providing more introductory basic knowledge of Gamaka (Kavya

Vachana) to students.

This course also aims at providing more introductory knowledge of Gamaka Theory to

students


After successfully completing of the course the student will be able to.

Understand more introductory practical concept of Gamaka (Kavya Vachana).

Sing more poetic portion of some Maha Kavyas.

Understand more basic theoretical concept of Gamaka (Kavya Vachana).

Acquire more introductory knowledge of some prescribed Raga lakshanas

Understand the life and contribution of more legendary Gamakis.





1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 99


Semester 2 GAMAKA

Title of the course: Karnataka Music: Gamaka

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Practical

Credits

Number of

lecture

hours/semester

3 42 3 42

GAMAKA - COURSE 2 THEORY Unit – 1: Gamakas 14

Chapter No.1: Dashavida Gamakas of Music

Chapter No.2: Panchadasha Gamakas of Music

Chapter No.3: Gamakas in Sahitya, Kaku

Unit – 2: Bhava – Rasas, Raaga Lakshanas 14

Chapter No.4: Bhava – Rasas:

a) Pada Bhava b) Raaga Bhava

c) Rasas

d) Bhavas - Rasas

Chapter No.5: Raaga Lakshanas 1:

a) Hamsadhwani, Sriranjani

b) Simhendra Madhyama, Desh

Chapter No.6: Raaga Lakshanas 2:

a) Hindola, Saama

b) Kaanada, Kedarahowla

Unit – 3: Prominent Mahakavis and Kavya Bhagas of Study –

An Introduction

14

Chapter No.7: Lakshmeesha – Jaimini Bharata, Chamarasa – Prabhulinga leele

Chapter No.8: Helavanakatte Giriyamma – Chandrahasana Kathe

Chapter No.9: Muddana - Raamashwamedha


Pedagogy



Total


Page | 100

GAMAKA - COURSE 2 PRACTICALS Unit – 1: Jawala Vrittanta in Jaimini Bharata 14 Chapter No.1: 8 poems



Unit – 2: Upadeshas to Siddarama in Prabhulinga leele 14 Chapter No.4: 8 poems Chapter No.5: 8 poems


Unit – 3: Chandrahasana Kathe and Ramashwamedha 14 Chapter No.7: Chandrahasana Kathe of Helavanakatte Giriyamma 1: 15

poems

Chapter No.8: Chandrahasana Kathe of Helavanakatte Giriyamma 2:

15 poems

Chapter No.9: Ramashwamedha of Muddana – 10 poems

Text Books

References

Pedagogy



Marks

Total


Page | 101

B.A/ B.P.A/ B.A(Fine Arts) in KARNATAKA MUSIC Semester 1 PERCUSSION INSTRUMENTS

Course Title: (DSCC) Percussion Instruments-I Theory-I and Percussion Instruments -I Practical-I


Formative Assessment Marks: 30 (15+15) Duration of ESA/Exam:3 hours theory subject and 20

minutes duration for each candidate in practical subject




Course Objective:



music to










Course Outcomes (COs) / Program

Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12


2.

3

Course Articulation Matrix relates course outcomes of course with the corresponding program outcomes

whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a course outcome addresses

a particular program outcome.

Page | 102


Title of the course: Karnataka Music: Percussion Instruments

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Percussion Theory 39/42 Hr

Unit – 1: Man to Music 14 Hrs

Chapter No.1: a) Man to Life b) Music to Nature

Chapter No. 2: Folk Music

Chapter No. 3: Folk Music Instruments

Unit – 2: Rhythm and Tala 14 Hrs

Chapter No.4: a) Laya Definition b) Laya Varieties

Chapter No.5 : Tala Definition

Chapter No.6 : Tala Varieties

Unit – 3: Percussion Instruments 14 Hrs

Chapter No.7:

a) Classifications of Music Instruments

b) Origin of percussion Instruments

c) Karnataka classical Percussion instruments and their place

d) Role of percussion Instruments in Karnataka classical Music

e) concert.

Chapter No.8: The Great percussion Artist -5 Life achievement

and contribution of Sri Narayanaswamy appa

Chapter No.9: The Great percussion Artist -5 Life achievement

and contribution of Sri. T. M. Puttaswamaiah

Text Books

References

Pedagogy




Theory 70

Total 100

Date Course Coordinator Subject Committee Chairperson

Page | 103

Percussion Instruments - COURSE 2 (Practical)

Unit – 1: Balapa Thas 14 Hrs

Chapter No.1: Chanting of Tha Dhi Tom Nam” in chaturashrajathi

Tripnta Tala

Chapter No.2: Playing of Tha Dhi Tom Nam in Chaturashrajuthi Triputa

Tala on the Instrument

Chapter No.3: Chanting of Tha Dhi Tom Nam in Suladi Sapta Talas and

Playing of Tha Dhi Tom Nam in Suladi Sapta Talas on

the Instrument

Unit – 2: Urutu and MukTayas 14 Hrs

Chapter No.4: Chanting of Uruty(Fern) in Aditala

Chapter No.5: Playing Uruty (Fern) in Aditala on the Instrument

Chapter No.6:

a) Chanting of Uruty(Ferbn) in Suladi Sapta Talas

b) Playing of Urutu (Fern) in Suladi sapta Talas on the

Instruments.

Unit – 3: Nades and Korpu 14 Hrs

Chapter No.7: chanting Fine nades in Aditala and Suladi Sapta Talas.

Chapter No.8: Playing Fine nades in adi Tala and Saladi sapta Talas on the

Instrument

Chapter No.9:

a) Chanting korapu in Aditala and Suladi Sapta Talas.

b) Playing Korapu in AdiTala and Suladi Sapta Talas on the

Instrument.

Text Books

References

Pedagogy: Practical class and experiential learning



15+15

Total 30

Date Course Co-Ordinator Subject Committee Chairperson

Page | 104


Course Title: (DSCC) Percussion Instruments- Theory- and Percussion Instruments - Practical-


Formative Assessment Marks: 30 (15+15) Duration of ESA/Exam:3 hours theory subject and 20 minutes duration for each candidate in

practical subject





Course Objective:



music to











Outcomes (POs) 1 2 3 4 5 6 7 8 9 10 11 12


2.

3

Course Articulation Matrix relates course outcomes of course with the corresponding program outcomes whose attainment is attempted in this course. Mark ‘X’ in the intersection cell if a course outcome addresses

a particular program outcome.

Page | 105


Title of the course: Karnataka Music: Percussion Instruments

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Percussion Theory 39/42 Hr

Unit – 1: Technical Terms 14 Hrs

Chapter No.1: Nade Teeka Urutu

Chapter No. 2: Korapu – Prastara, Sarvalaghu

Chapter No. 3:

a) Nade Bheda Tani Avartna, Mohra

b) Arudhi – Korve, Muktaya, Teeranana

Unit – 2: Tala dasha pranas 14 Hrs

Chapter No.4:

a) Kala , Marga

b) Kriya, Anga

Chapter No.5 :

a) Graha, Jati

b) Kale , laya, yathi and prastara

Chapter No.6 : Grahas

a) Definition of Graha

b) Sama Graha

c) Vishama Graha

d) Ateiter and Anahata Grahyas

Unit – 3: The Great Percussion Artists. 14 Hrs

Chapter No.7: Sri Palani Krishna

Chapter No.8: Sri D Sheshappa

Chapter No.9:

Text Books

References

Pedagogy




Theory 70

Total 100

Page | 106

Percussion Instruments - COURSE 2 (Practical)

Unit – 1: Teeka Varasas 13/14 Hrs

Chapter No.1: Chanting Teeka Varasas in AdiTala and Pupupaka Tala Set to Chaturaslra nade.

Chapter No.2: Playing Teeka Varasas in Aditala and Pupaketala set to

Chesturastray nade, on the Instrument

Chapter No.3:

a) Chanting Teeka Varasas in Aditala and Pupaka Tala set to

Thryasra nade

b) Playing Teeka varasaas in Aditala pupaka Tala set to Thryasra

nade.

Unit – 2: Tha Dhi Ti na tom – 5 Jathis 13/14 Hrs

Chapter No.4: Chanting Tha dhi gi na tom in 5 jathis

Chapter No.5: Playing Tha Dhi gina Tom in 5 jathis on the Instruments

Chapter No.6:

a) Chanting Tha dhigi na tom in 5 Jatis with referede to Ektala

in three speeds on the Instrument.

b) Playing Tha dhi gi na tom in 5 Jathis with reference to

Ekatala in three speeds, on the Instrument.

Unit – 3: Nade Korapus – Aditala 13/14 Hrs

Chapter No.7: a) Chanting Nade Korapye in Aditala in madhya laya.

b) Playing Nade Korpu in Aditala in Madhya laya on the Instrument

c) Chanting Nade Korapu in Aditala in Vilamlea Laya.

d) Playing Nade Korapu in Aditala in Vilamlwaq laya on the Instrument

Chapter No.8: Nade Korapu Rupaka Tala:

a) Chanting Nade Korapu Rupaka Tala in

Madhya laya

b) Playing Nade Korapu in Rupaka Tala

Madhya laya on the Instrument

c) Chanting Nade korapu in Rupaka tala in

Vilamba laya

d) Playing Nade Korapu in Rupaka Tala in

Vilamba laya on the Instrument

Chapter No.9: Nade Korapu Rupaka Tala:

a) Chanting Nade korapu in Rupaka tala in Vilamba laya

b) Playing Nade Korapu in Rupaka Tala in Vilamba laya

on the Instrument

Text Books

References




15+15

Total 30

Date Course Co-Ordinator Subject Committee Chairperson

Page | 107








Music (Hindustani Music) as one of the major

MUSIC (HINDUSTANI MUSIC)

Vocal and Instrumental

Page | 108

Bachelor of Performing Arts in Hindustani Music

and

Bachelor of Arts in Hindustani Music

ADMISSION ELIGIBILITY

1: Invitation of Applications:

a) The University shall issue a notification for admission to various U. G Programmes for

all odd semesters soon after the announcement of PUC II year / 10+2 results.

b) Admissions shall be purely based on merit cum roster as per the norms of Government

of Karnataka issued from time to time.

c) Academic year normally commences in the month of June every year. The exact date

for commencement of academic year shall be decided by the University.

d) Affiliated colleges shall admit students for each programme not exceeding the approved

intake. Prior approval from the University is mandatory in case the admissions exceed

approved limit.

2: ELIGIBILITY: A candidate who has passed two-year Pre-University Course (PUC)

Examination conducted by Pre-University Education Board, Government of Karnataka, or

10+2 Examination conducted by C. B. S. E or equivalent examinations by any Other State

or any other recognized Board / Department shall be eligible for admission to First

Semester U. G. Programme.

For B.A. / B. P. A (Music)./ Programmes: A candidate with PUC / 10+2 of any

stream or 3-year Diploma Course with any subject or 2-year J O C / I. T. I of any subject

shall be eligible.

Page | 109

I & II Semester Bachelor of Arts –

Music (Hindustani Music, Vocal / Instrumental)


(4+0+2)




(3+3)


Total Credits



I Music Hindustani Music, Vocal / Instrumental A1 -(3) Hindustani Music, Vocal / Instrumental A2 - -(3) B- 1 –(6) Theatre Arts/Music- Karnataka /Hindustani/ Gamaka (Kavya Vaachana) Optional Kannada/English Sanskrit/Telugu/ History/Economics / Mrudanga.

OE-1


L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Active Based (2)

23

II Music Hindustani Music, Vocal / Instrumental A1 -(3) Hindustani Music, Vocal / Instrumental A2 - -(3) B- 1 –(6) Theatre Arts/Music- Karnataka /Hindustani/ Gamaka (Kavya Vaachana) Optional Kannada/English Sanskrit/Telugu/ History/Economics / Mrudanga.

OE-2


L1, L2


Sanskrit Telugu

Urdu etc. (3+3)

Environmental Science (2)


learning (2)

25


Page | 110

BA in MUSIC (Hindustani Music)

BA Semester 1st and 2nd

Theory and Practical

SEMESTER : 1

Course -1 : Theory

1. Hindustani Music Theory

(Theory is common for Vocal, Sitar and Tabla)

Course -2 : Practical

Vocal Practical

Vocal Open Elective

Sitar Practical

Sitar Open Elective

Tabla Practical

Tabla Open Elective

SEMESTER : 2

Course -1 : Theory




Vocal Practical

Vocal Open Elective

Sitar Practical

Sitar Open Elective

Tabla Practical

Tabla Open Elective

Page | 111

Bachelor of Arts in Music (Hindustani Music) Semester – 1 and 2 DSCC

Hindustani Music – Vocal, Sitar and Tabla

Course Title: Music

Total Contact Hours: L42 + P65 Course Credits: 3 + 3

Formative Assessment Marks: 30

(15+15)

Duration of ESA/ Exam: 3 hours theory



Model Syllabus Authors:

Performing Arts Curriculum Committee



Course Objectives:

1. To impart the knowledge of origin of music, basic of music and technical terms

of music

2. To impart the knowledge of notation system to enable the students to write

bandish in swaralipi/ Talalipi Paddhati

3. In practical course objective is to train the students to sing/play swaralankaras,

vilambit and drut compositions with alap and tans of prescribed ragas in syllabus.

To train the students of percussion instrument to play different compositions of

solo play.

Course Outcomes:

At the end of the course the student will be able to:

1 At the end of the course the students will be able to get the knowledge about

origin of music, basic of music and technical terms of music.

2 At the end of the course the students will be able to write Bandish in

swaralipi/talalipi-paddati.

3 At the end of the course the students will be able to sing /play swaralankaras,



solo play.

Page | 112

Bachelor of Arts in Music (Hindustani Music)

(Vocal/ Sitar/ Tabla) BA Semester 1: Theory is Common for Vocal, Sitar and Tabla

Title of the course: Hindustani Music Theory

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Hindustani Music Theory 39/42 Hr

Unit – 1: 14 Hrs

Chapter No.1: Knowledge of Technical terms:

a)Sangeeta b)Naada c)Anahat d)swara e)Shruti

f)Aandolan g)Alankara h)Aaroha i)Avaroh

Chapter No. 2: Knowledge of Technical terms: a)Kaala b)Taala c)Laya d)Vilambit e)Drut f)Maatra

Chapter No. 3: Knowledge of Technical terms: a)Maseetkhani Gat b) Razhakani Gat c)Meend d)Palta

Unit – 2: 14 Hrs

Chapter No.4: Origin of Music

Chapter No.5 : Knowledge of Swaralipi paddhati of Pt.Bhatkhande

Chapter No.6 : Knowledge of Talalipi paddhati of Pt.Bhatkhande

Unit – 3: 14 Hrs

Chapter No.7: Importance of Tala and Laya in Music

Chapter No.8: Sketch and lebal of Tanpura instrument

Chapter No.9: Knowledge of writing kayals, gats and Talas in swaralipi

and talalipi Paddhati

Text Books / References 1. Sangeet Visharad by Vasant, Hathras publications

2. Kramik Pustak Malika VOL I, II, III, IV, V, VI by Pt.Bhathkhande, Hathras Publications

3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University

4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad

5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications

6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan

7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad

8. Indian Musical Tradition, Deshpande, MM Publication

9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU

Dharwad

10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad

11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU Dharwad

Pedagogy – Lecturing and Book chapter

Formative Assessment & Summative Assessment


Formative Assessment - Internal Assignment 30

Summative Assessment - Theory 70

Total 100

Page | 113

VOCAL - COURSE 2

Vocal Practical

Unit – 1: 13/14 Hrs

Chapter No.1: Learn to play 2 alankars(palta) in bhairav That in taal Dadra with Thaai, dugun and chaugun laya

Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal

Keharwa with Thaai, dugun and chaugun laya

Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal Zhaptal with Thaai, dugun and chaugun laya

Unit – 2: 13/14 Hrs

Chapter No.4: Knowledge of playing Maseetkhani gat and

Razhakani gat with four alaps and four tans in raag yaman

Chapter No.5: Knowledge of playing Razhakhani gat with four alap

and four tans in raag Vrindavani sarang

Chapter No.6: Knowledge of playing razhakhani gat with four alap and four tans in raag Alhaiya bilawal .

Unit – 3: 13/14 Hrs

Chapter No.7: Knowledge of following talas with demonstration: a)Teental b)Dadra

Chapter No.8: Knowledge of following talas with demonstration:

a)Keharwa b)Zhaptal

Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas:

a) Dadra b) Keharwa c) Zhaptal


1. Sangeet Visharad by Vasant, Hathras publications

2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications








Dharwad








Total 100

Page | 114

Semester 1

Course Title: OEC Vocal

Total Contact Hours: L + I + P=60 Course Credits: 3


(15+15)

Duration of ESA/ Exam: 15 minutes

duration for each candidate in practical

subject




L= Lecture I=Instruction P=Practical

Course Objectives:

1. To impart the knowledge of shuddha and vikruta swaras.

2. To impart the knowledge of sargam geet and chota khayal

3. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet

and chota khyal with alap and Taans


1. At the end of the course the students will be able to know the basics of

classical music(swara and laya)

2. At the end of the course the students will be able to sing swrageet, chota

khayal with alap and taans

3. At the end of the course the students will be able to demonstrate talas.

Page | 115

BA. MUSIC (Hindustani Music) (Vocal) BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Vocal

Course 1

Number of Theory Credits Number of lecture hours/semester

3 60

OEC Vocal

Unit – 1 :

Chapter No.1: Learn to sing Different Swaras (Komal and

Teevra)

Chapter No. 2: Learn to sing six alankaras in thaat bhairav

Chapter No. 3: Learn to sing six alankaras in thaat bilawal

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag bhairav

Chapter No.5: Learn to sing Sargam geet and Chota Khayal in

raag bhairav.

Chapter No.6: Learn to sing Chota Khayal with four aalaps and

four taans in raag bhairav.

Unit – 3 :

Chapter No.7: Learn to sing bhada khyal and chota khyal with

four aalaps and four tans in raag bhairav.

Chapter No.8: Learn to sing bhada khyal and chota khyal with

four aalaps and four tans in raag durga.

Chapter No.9: Knowledge of following taalas with

demonstration

a) Dadra b) Teen taal


1. Raag darshan – Rajeev Purandare – Prasaranga, Karnataka University, Dharwad

2. Sangeet Visharad – Laxminarayan Garg - Sangeet Karyalaya, Hataras

3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya,

Hataras

4. Sangeet Shastra parichaya-A.U.Patil, S H taralagatti, GB Awate, Prasarang KUD




Formative Assessment - Internal

Assignment

30


Total 100

Page | 116

BA. MUSIC (Hindustani Music)

(Sitar)

BA Semester 1

Title of the course: Hindustani Music /Sitar practical

Course 2


3 65

Content of Course – Sitar Practical Unit – 1 : 14 Hrs


Dadra with Thaai, dugun and chaugun laya




Zhaptal with Thaai, dugun and chaugun laya

Unit – 2 : 14 Hrs

Chapter No.4: Knowledge of playing Maseetkhani gat and Razhakani

gat with four alaps and four tans in raag yaman

Chapter No.5: Knowledge of playing Razhakhani gat with four alap

and four tans in raag Vrindavani sarang

Chapter No.6: Knowledge of playing razhakhani gat with four alap

and four tans in raag Alhaiya bilawal

Unit – 3 : 14 Hrs


a)Teental b)Dadra


a)Keharwa b)Zhaptal


a)Dadra b)Keharwa c)Zhaptal













Assignment

30


Total 100

Page | 117


BA Semester 1, Activity Based (SEC)


Total Contact Hours: L + I + P=60 Course Credits: 3 credits


(15+15)



subject





Course Objectives:


2. To impart the knowledge of Razhakhani Gat.

3. To impart the knowledge of playing shudda and vikruta swaras. Razhakhani Gats

with alap and Taans

Course Outcomes:

1. At the end of the course the students will be able to know the basics of classical

music(swara and laya)

2. At the end of the course the students will be able to play Rajakhani gat with alap

and taans


Page | 118


(SITAR)

BA Semester 1, Discipline Elective (DSE) / Open Elective (OE)

Title of the course: OEC Sitar

Course 1


3 60

OEC Sitar

Unit – 1 :

Chapter No.1: Knowledge of basic strokes of sitar

Chapter No. 2: Learn to play six alankaras in thaat bilawal

Chapter No. 3: Learn to sing six alankaras in thaat kalyan

Unit – 2 :

Chapter No.4: Theoretical knowledge of raag yaman and Aliya

bilawal

Chapter No.5: Learn to play razakhani gat in raag yaman

Chapter No.6: Learn to play razakhani gat in Aliya bilawal.

Unit – 3 :

Chapter No.7: Learn to play Maseetkhani gat and razakhani gat

with four aalaps and four taans in raag yaman.

Chapter No.8: Learn to play Maseetkhani gat and razakhani gat

with four aalaps and four tans in raag Aliya bilawal.

Chapter No.9: Knowledge of following taalas with demonstration





3. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya,

Hataras






Assignment

30


Total 100

Page | 119


(Tabla)

BA Semester 1

Title of the Course: Hindustani Music / Tabla practical

Course 2


3 65

Content of Course – Tabla Practical

Unit – 1 :

Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the

following talas

a)Dadra b)Keharwa c)Teental

Chapter No.2: Knowledge to demonstrate and learn to play thekas

and four badal thekas of following talas:

a)Dadra b)Keharwa



a)Zaptal b)Teental

Unit – 2 :

Chapter No.4: Learn to play one Peshkar with four platas ending with

tihai in taal Teental

Chapter No.5: Learn to play two kaydas with four platas ending with tihai in

taal Teental

Chapter No.6: Learn to play two kaydas in Taal Zaptal

Unit – 3 :

Chapter No.7: Learn to play Sath-sangat in taal Teental

Chapter No.8: Learn to play Sath-sangat in taal Zaptal

Chapter No.9: Learn to play Sath-sangat in taal Ektaal


Sangeet Visharad by Vasant, Hathras publications

Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras

Publications

Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi

University

Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad

Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications

Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan

Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad

Indian Musical Tradition, Deshpande, MM Publication






Total 100

Page | 120

Semester 1

Course Title: OEC Tabla



(15+15)



subject





Course Objectives:

1. To impart the knowledge of basics of Tabla playing(different bols of Tabla and Dugga)

2. To impart the knowledge of playing Thekas and badal Thekas of different Talas

3. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and Thukda )

Course Outcomes:

1. At the end of the course the students will be able to know basics of Tabla

playing(different bols of Tabla and Dugga)

2. At the end of the course the students will be able to play Thekas and badal Thekas of

different Talas.

3. At the end of the course the students will be able to play solo in tabla (Peshkaar, Kayda

, Mukhda and Thukda )

Page | 121

Bachelor of Arts in Music (Hindustani Music) (TABLA)

BA Semester 1, Discipline Elective (DSE)/ Open Elective (OE)

Title of the course: OEC Tabla

Course 1


3 60

OEC Tabla

Unit – 1 :

Chapter No.1: learn to play basic bols of Tabla

Chapter No. 2: Learn to play basic bols of Dagga

Chapter No. 3: Learn to play different bols in Tabla

Unit – 2 :

Chapter No.4: Learn to play the following thekas

a)Teental b) Zaptal

Chapter No.5: Learn to play 2 Badal Thekas of following Talas

a)Teental b) Zaptal.

Chapter No.6: Learn to play a kayda in taal teental

Unit – 3 :

Chapter No.7: Learn to play teental kayda with four paltas ending

with tihai.

Chapter No.8: Learn to play Jhaptal Kayda with four platas

ending with tihai.

Chapter No.9: learn to play 2 Mukhdas in taal Teental


1. AbhinavTalManjari-BySathyanarayanVashisth

2. TheMusic ofIndia-SripasdhBandopadhya-

D.B.TanpurewaleSonsandco.pvt.ltd.Bombay

3. Nibaddha Sangeeth-Sangeet Karyalaya Hathras

4. Taal marthand- Laxmi narayan garage- Sangeet karyalaya hathras






Total 100

Page | 122


Semester 1, Activity Based (SEC)

Course Title: SEC- Activity based



(15+15)



subject





Course Objectives:

1. To impart the knowledge of various musical instruments and their maintenance.

2. To impart the knowledge of stage preparation for music programmes, knowledge

of sound system

3. Visit AIR/Doordarshan to enable the students to understand the process of

recording.

Course Outcomes:

1. At the end of the course students will be able to understand different musical

instruments and their maintenance.

2. At the end of the course students will be able to manage the stage for performance

including sound system.

3. At the end of the course students will be able to know the process of recording and

output.

Page | 123



Title of the course: Activity Based

Course 1


3 60

SEC

Unit – 1 :

Chapter No.1: Knowledge of String instruments

Chapter No. 2: Knowledge of wind instruments

Chapter No. 3: Knowledge of Percussion instruments

Unit – 2 :

Chapter No.4: Knowledge of preparing stage for music programmes

Chapter No.5: Basic Knowledge of sound system for music programmes

Chapter No.6: Knowledge of synchronization of sound

Unit – 3 :

Chapter No.7: Visit to All India Radio/Doordarshan

Chapter No.8: Knowledge of music recording

Chapter No.9: Basic knowledge of harmonium playing

Page | 124


Semester 1 and 2 DSCC

DSCC Hindustani Music – Vocal, Sitar and Tabla

Course Title: MUSIC

Total Contact Hours: L42 + P65 Course Credits: 3+3 Credits


(15+15)








Course Objectives:

1. To impart the knowledge of historical development of music at early stage,

knowledge about musical instruments and technical terms.

2. To impart the knowledge of notation system to enable the students to write

bandish in swaralipi/talalipi paddhati. Students will be able to demonstrate talas.

3. In practical course objective is to train the students to sing/play swaralankaras,



solo play.

Course Outcomes:


1. At the end of the course the students will be able to get the historical

development of music at early stage, knowledge about musical instruments and

technical terms.

2. At the end of the course the students will be able to write bandish in

swaralipi/talalipi paddhati. Students will be able to demonstrate talas.

3. At the end of the course the students will be able to sing /play swaralankaras,



solo play.

Page | 125


(Tabla)

BA Semester 2: Theory is common for vocal, sitar and tabla Title of the course: Hindustani Music Theory

Course 2


3 42

Content of Course – Hindustani Music Theory Unit – 1 :


a)Raaga b)Raaga jaati(oudava,shadava,sampoorna) c)Shuddha d)Vikruta e)Komal-Teevra f)Aalap

g)taan h)Sthayi i)Antra


a)Theka b)Sam c)Khaali d)Thaali


a)Bhaaj b) Jod c)Gath d)Aalap e)Jhaala

Unit – 2 :

Chapter No.4: History of Music in vedic period

Chapter No.5: Music and Nature

Chapter No.6: Importance of music in life.

Unit – 3 :

Chapter No.7: Origin of Tabla

Chapter No.8: Sketch and label of Tabla instrument

Chapter No.9: Knowledge of writing Khyal, gaths and Taalas in

swaralipi and Talalipi system

Text Books References 1. Sangeet Visharad by Vasant, Hathras publications

2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications 3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University



6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan 7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad


9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate, Prasarang KU Dharwad








Total 100

Page | 126


(Vocal)

BA Semester 2 Title of the course: Hindustani Music /Vocal Practical

Course 2


3 65

Content of Course – Vocal Practical Unit – 1 :

Chapter No.1: Learn to sing swarageet in raag kafi

Chapter No.2: Learn to sing lakshangeet in raag kafi

Chapter No.3: Learn to sing any form of song in raag kafi

Unit – 2 :

Chapter No.4: Knowledge of singing Bada khayal and Chota khayal

with four alaps and four tans in raag bhairav

Chapter No.5: Knowledge of singing chota khayal with four alap and

four tans in raag Durga


four tans in raag Bhimpalas

Unit – 3 :

Chapter No.7: Knowledge of following talas with demonstration: a)Ektal b)Roopak


a)Aaddha b) Deepchandi

Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following talas

a)Roopak b)Teental




5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications 6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan


8. Indian Musical Tradition, Deshpande, MM Publication 9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,

Prasarang KU Dharwad








Total 100

Page | 127


(Sitar)

BA Semester 2 Title of the course: Hindustani Music /Sitar Practical

Course 2


3 65

Content of Course – Sitar Practical Unit – 1 :

Chapter No.1: Learn to play Razhakhani Gat in raag kafi

Chapter No.2: Learn to play Jhaala in raag kafi

Chapter No.3: Learn to play one dhun in raag kafi

Unit – 2 :

Chapter No.4: Learn to play Maseetkhani Gat and Razhakhani Gat with four alaps and four tans in raag bhairav

Chapter No.5: Learn to play Razhakhani Gat with four alap and four

tans in raag Durga

Chapter No.6: Learn to play Razhakhani Gat with four alap and four tans in raag Bhimpalas

Unit – 3 :


a)Ektal b)Roopak




a)Roopak b)Teental



3. Tabala ka Udgam,Vikas aur Vadanashailiyam by Yogamaya Shukla, Delhi University 4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad



7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad 8. Indian Musical Tradition, Deshpande, MM Publication

9. Sangeet Shshtra Parichaya, by AU patil, SS Taralagatti, G.B.Aawate,

Prasarang KU Dharwad 10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad

11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU

Dharwad






Total 100

Page | 128


(Tabla)

BA Semester 2 Title of the course: Hindustani Music /Tabla Practical

Course 2


3 65

Content of Course – Tabla Practical Unit – 1 :


a)Roopak b)Ektal c)Aadha



a)Roopak b)Dhumali

Chapter No.3: Knowledge to demonstrate and learn to play thekas and four badal thekas of following talas:

a)Aadha b)Ektal

Unit – 2 :


tihai in taal Zaptal

Chapter No.5: Learn to play One Peshkar and two kaydas with four

platas ending with tihai in taal Teental

Chapter No.6: Learn to play Rela, Thukda, Gath, Chakradaar in Taal Teental

Unit – 3 :

Chapter No.7: Learn to play Teental Vilambit

Chapter No.8: Learn to play Ektal Vilambit

Chapter No.9: Learn to play Sath-sangat in taal Roopak




4. Sangeet Shastra Dharpan by Prof.A.U.Patil, Prasarang KU Dharwad 5. Hamare Sangeet Ratna by Prabhulal Garag, Hathras publications





10. Bharathiya Sangeet Charithrey by Dr.B.D.Pathak, Prasarang KU Dharwad 11. Hindustani Sangeet by Mrithunjay Swami Puranikmatt, Prasarang KU

Dharwad






Total 100

Page | 129

Bachelor of Performing Arts in Music (Hindustani

Music)

Semester 1st and 2nd

ADMISSION ELIGIBILITY

1: Invitation of Applications:

a) The University shall issue a notification for admission to various UG Programmes for

all odd semesters soon after the announcement of PUC II year / 10+2 results.

b) Admissions shall be purely based on merit cm roster as per the norms of Government

of Karnataka issued from time to time.

c) Academic year normally commences in the month of June every year. The exact date

for commencement of academic year shall be decided by the University.

d) Affiliated colleges shall admit students for each programme not exceeding the approved

intake. Prior approval from the University is mandatory in case the admissions exceed

approved limit.

2: ELIGIBILITY: A candidate who has passed two-year Pre-University Course (PUC)

Examination conducted by Pre-University Education Board, Government of Karnataka, or

10+2 Examination conducted by CBSE or equivalent examinations by any Other State or

any other recognized Board / Department shall be eligible for admission to First Semester

U.G. Programme.

For B.A. / B.P.A (Music)./ Programmes: A candidate with PUC / 10+2 of any

stream or 3-year Diploma Course with any subject or 2-year JOC / ITI of any subject shall

be eligible.

Page | 130

Bachelor of Performing Arts in Music (Hindustani Music)

Semester 1st and 2nd


SEMESTER : 1

1. Course-1 : Theory : Khayal

Course-2 : Practical : Khayal

Open Elective : Khayal

2. Course-1 : Theory : Sitar

Course-2 : Practical : Sitar

Open Elective : Sitar

3. Course-1 : Theory : Violin

Course-2 : Practical : Violin

Open Elective : Violin

4. Course-1 : Theory : Thumri

Course-2 : Practical : Thumri

Open Elective : Thumri

5. Course-1 : Theory : Tabla

Course-2 : Practical : Tabla

Open Elective : Tabla

6. SEC – Activity Based

SEMESTER : 2

1. Course-1 : Theory : Khayal

Course-2 : Practical : Khayal

Open Elective : Khayal

2. Course-1 : Theory : Sitar

Course-2 : Practical : Sitar

Open Elective : Sitar

3. Course-1 : Theory : Violin

Course-2 : Practical : Violin

Open Elective : Violin

4. Course-1 : Theory : Thumri

Course-2 : Practical : Thumri

Open Elective : Thumri

5. Course-1 : Theory : Tabla

Course-2 : Practical : Tabla

Open Elective : Tabla

Page | 131


Discipline Specific Core Course – DSCC – ( Hindustani Music- Khyal, Thumri,

Sitar, Tabla and Violin)

In the subject of Hindustani Music students can offer 2 DSCC subjects.

There shall be 5 students per batch for practical class. Boys and girls batch should be done

separately.

Teaching hours

Theory 3 hours = Total 3 hours /week credit: 3

Practical 6 hours = Total 6 hours/week credit: 3

Total work load= 42 hours for theory and 65 hours for practical Total credit: 6

Scheme of examination

Theory: 100 Marks (70 Sem end +30 IA) with 3 hours duration

Practical: 100 Marks (70 Sem end+ 30 IA) 20 minutes duration for Each Student.

Internal Assessment (IA): 30 marks for Theory and 30 marks for Practical

Page | 132

Modal Curriculum

Name of the Degree Program: B.P.A (Music)

Discipline Core: Music Total Credits for the Program: 176

Starting year of implementation: 2021-22

Program Outcomes:


Get the theoretical and practical knowledge of the prescribed syllabus of their

respective DSCC subjects. Thus will have strong foundation of classical music

which is very essential for advanced training in music.

Sing Bada Khayal and Chota Khayal, Bandish with Alaps and Taans along with

theoretical knowledge. Students of Instrumental music will able to demonstrate

Solo play in their respective musical instruments of their respective DSCC subjects

with theoretical knowledge.

Assessment:


Type of Course Formative Assessment / IA Summative Assessment

Theory 30 (15+15) 70

Practical 30 (15+15) 70

Projects --- ---


(Internshipsetc.)

--- ---

Page | 133

Curriculum Structure for the Undergraduate Degree Program

B.P.A (Music)


Name of the Degree Program: BPA (Music)

Starting Year of Implementation: 2021-22


This matrix lists only the core courses. Core courses are essential to earn the degree in that

discipline/subject. They include courses such as theory, practical, project, internships etc. Elective

courses may be listed separately

Semester Title/Name

ofthe course

Program outcomes

that the course

addresses (not more

than3 per course)

Pre-

requisite

course(s)

Pedagogy## Assessment$

1 BPA

(Music)

PO1-PO9 --- L+P 30 (15+15)

2 BPA

(Music)

PO2 - PO9 I Sem BPA

(Music)

L+P 30 (15+15)

## Pedagogy for student engagement is predominantly lectures and prcaticals. However, other

pedagogies enhancing better student engagement is recommended for each course. The list includes

active learning/ course projects/ problem or project-based learning/ case studies/self-study like

seminar, term paper or MOOC

Every course includes assessment for higher order thinking skills (Applying/ Analyzing/

Evaluating/Creating). However, this column may contain alternate assessment methods that help

formative assessment (i.e. assessment for learning).

Page | 134


Semester: 1 KHAYAL

Course Title: (DSCC) Khyal-I Theory-I and Khyal-I Practical-I



(15+15)








Course Objectives:

1. To impart the knowledge of origin of music and technical terms of music.

2. To impart the knowledge of basics (swara and laya aspect) of practical music and writing the

bandish in swaralipi-paddati.

3. In practical course objective is to train the students to sing basics of Khyal presentation.


1. At the end of the course the students will be able to get the knowledge about origin of music.

2. At the end of the course the students will be able to write Bandish in Swaralipi-Paddati.

3. At the end of the course the students will be able to sing basics of Khyal presentation.

Page | 135


(Khayal) BPA Semester 1

Title of the course: Hindustani Music: Khayal

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Khayal Theory 39/42 Hr

Unit – 1: 14 Hrs

Chapter No.1: Knowledge of writing Chota Khyal Bandish in Swaralipi

paddhati of ragas prescribed for practical course.

Chapter No. 2: Knowledge of writing Bada Khyal Bandish in Swaralipi


Chapter No. 3: Knowledge of writing Alaps and Taans of Bada Khyal and Chota Khyal in Swaralipi paddhati of ragas prescribed for

practical course.

Unit – 2: 14 Hrs


Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar

notation system.

Chapter No.6 : Biographies of the following eminent personalities

A)Jayadev B) Swamy Haridas

Unit – 3: 14 Hrs

Chapter No.7: Definition of the following Technical Terms a)Sangeet b)Naad c)Shruti d)Swara e)Aaroh-avaroh

f)Taal g)Laya

Chapter No.8: Knowledge of Saragamgeet, Chota khyal and Lakshangeet

Chapter No.9: Study of theoretical details of Ragas and Talas prescribed for the practical course

Text Books

References

1. Sangeet shastra Dhrapana-A.U.Patil- Prasarnaga,KarnatakUniversity,Dharwad-1975

2. Bharatiy Sangeet Charitre-B.D.Pathak –Prasarnaga,KarnatakUniversity,Dharwad-1975

3. Sangeet Visharad –Vansant,SangeetKaryalayaHartharas

4. Hindustani Sangeet – Mrutyunjayaswami Puranikmath – Prasarnaga, Karnatak

University,Dharwad

5. Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad.






Total 100

Page | 136

KHAYAL - COURSE 2

Unit – 1: 13/14 Hrs

Chapter No.1: Learn to sing Swaras of Madya Saptak, Mandra Saptak and Tara Saptak

Chapter No.2: Learn to sing six alankaras inThaat Bilawal

Chapter No.3: Learn to sing six alankaras in Thaat Kalyan

Unit – 2: 13/14 Hrs

Chapter No.4: Learn to sing a Saragam geet and a Chota khyal with four Alaps and four Tans in the Raag Bhoop

Chapter No.5: Learn to sing a Saragamgeet and a Chota khyal with

four Alaps and four Tans in Raag Alhaiya Bilawal

Chapter No.6: Knowledge of following Talas with demonstration. a) Teental b)Dadra

Unit – 3: 13/14 Hrs

Chapter No.7: Learn to sing a Bada khyal and a Chota khyal in Raga

Yaman

Chapter No.8: Learn to sing a Bada khyal and a Chota khyal in Raga Bhimpalas

Chapter No.9: Detail knowledge of Ragas and Talas prescribed for

practical course of the I- semester

Text Books

References






Total 100


1) Bhatkhande Kramik Pusthak Malika-V.N.Bhatkande–Sangeet Karyalaya Hathras

2) Rag Darshan–Rajeev Purndare–Prasarnaga Karnatak University Dharwad

3) Raga BhodhBhag 1to 6 –Pt.B.R.Devdhar-Sangeet Karyalaya Hathras

Page | 137


(Khayal)


Course Title: OEC Khayal

Total Contact Hours: L + I + P =60 Course Credits: 0+ 1+2 = 3 credits


Duration of ESA/Exam: 15 minutes


subject

Model Syllabus Authors: PERFORMING ARTS

CURRICULUM COMMITTEE Summative Assessment Marks: 70


Course Pre-requisite (s):

Course Objectives:



6. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet and

chota khyal with alap and Taans


(Course outcomes are statements of observable student actions that serve as evidence of

knowledge, skills and values acquired in this course)



5. At the end of the course the students will be able to sing swrageet, chota khayal with alap

and taans


Page | 138


(Khayal)


Title of the course: OEC Khayal

Course 1


3 60

OEC Khayal Unit – 1 :

Chapter No.1: Learn to sing Different Swaras (Komal and Teevra)



Unit – 2 :


Chapter No.5: Learn to sing Sargam geet and Chota Khayal in raag

bhairav.

Chapter No.6: Learn to sing Chota Khayal with four aalaps and four

taans in raag bhairav.

Unit – 3 :

Chapter No.7: Learn to sing bhada khyal and chota khyal with four

aalaps and four tans in raag bhairav.


aalaps and four tans in raag durga.

Chapter No.9: Knowledge of following taalas with demonstration a) Dadra b) Teen taal

Text Books

References



7. Bhatkande Kramika pusthaka malika – V N Bhatkande – Sangeet Karyalaya, Hataras






Practical 70

Total 100

Page | 139


Semester 1 SITAR

Course Title: (DSCC) Sitar-I Theory-1 and Sitar-I Practical-1



(15+15)








Course Objectives:

1. To impart the knowledge of origin of sitar and technical terms of music.

2. To impart the knowledge of writing the Gats in swaralipi-paddati.

3. In practical course, objective is to train the students to play basics of sitar presentation


1. At the end of the course the students will be able to get the knowledge about origin of Sitar.

2. At the end of the course the students will be able to write Gats in swaralipi paddati.

3. At the end of the course the students will be able to play basics of sitar presentation

Page | 140


(Sitar)

BPA Semester 1

Title of the course: Hindustani Music: Sitar

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Sitar Theory

Unit – 1:

Chapter No.1: Knowledge of writing Dhrut Gat in Swaralipi paddhati of ragas prescribed for practical course.

Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddhati

of ragas prescribed for practical course.

Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat

and Dhrut Ghat in Swaralipi paddhati of ragas prescribed

for practical course.

Unit – 2:

Chapter No.4: Origin of Sitar

Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar

notation system.

Chapter No.6 : Biographies of the following eminent personalities a) Pt. Bhathkande b) Pt. V.D. Paluskar

Unit – 3:

Chapter No.7: Definition of following Technical Terms

a) Sangeet b)Naad c)Shruti d)Sam e)Alap f)Jod alapa g)Raga

Chapter No.8: Knowledge of Maseetkhani Gat, Razakhani Gat, Chala That and Achal That

Chapter No.9: Study of theoretical details of Ragas and Talas prescribed

for practical course


1. Hindustani Sangeet – Mrutyunjaswami Puranikmath – Prasarnaga Karnatak

University, Dharwad.

2. Musica lInstruments of India-KrishnaMurthy –MunshiramManoharlalPublishersPvt.Ltd.

3. My Music My Life-Ravishankar–Munshiram Manoharlal Publishers Pvt.Ltd.


5. Bharatiya Sangeet Vadyagalu- Rajeev Purandare- Prasarnaga Karnatak University

Dharwad.






Total 100

Page | 141

SITAR - COURSE 2

Unit – 1:

Chapter No.1: Learn to play Swaras of Madya Saptak, Mandra Saptak and Tara Saptak

Chapter No.2: Learn to play six alankaras inThaat Bilawal

Chapter No.3: Learn to play six alankaras in Thaat Kalyan

Unit – 2:

Chapter No.4: Learn to play a Razakhani Gat with four Alaps and four Paltas in Raag Bhoop

Chapter No.5: Learn to play a Razakhani Ga twith four Alaps and

four Paltas in Raag Alhaiya Bilawal


Unit – 3:

Chapter No.7: Learn to play a Maseetkhani Gat and Razakhani Gat in

Raga Yaman

Chapter No.8: Learn to play a Maseetkhani Gat and Razakhani Gat in Raga Bhimpalas



Text Books

References






Total 100





Page | 142


(Sitar)


Course Title: OEC Sitar





subject




Course Objectives:


2. To impart the knowledge of Razhakhani gat


with alap and Taans




2. At the end of the course the students will be able to play Rajakhani gat with alap and

taans


Page | 143


(Sitar)


Title of the course: OEC SITAR

Course 1


3 60

OEC Sitar

Unit – 1 :




Unit – 2 :

Chapter No.4: Theoretical knowledge of raag yaman and Aliya bilawal

Chapter No.5: Learn to play razakhani gat in raag yaman.


Unit – 3 :

Chapter No.7: Learn to play Maseetkhani gat and razakhani gat with four

aalaps and four taans in raag yaman..


aalaps and four tans in raag Aliya bilawal.



Text Books

References










Total 100

Page | 144


Semester 1 VIOLIN

Course Title: (DSCC) Violin-I Theory-1 and Violin-I Practical-1

Total Contact Hours: L 42 + P 65 Course Credits: 3+3


Duration of ESA/Exam: 3 hours theory






Course Objectives:

1. To impart the knowledge of origin of violin and technical terms of music.

2. To impart the knowledge of writing the Gats in swaralipi-paddati.

3. In practical course, objective is to train the students to play basics of Violin presentation


1. At the end of the course the students will be able to get the knowledge about origin of

violin.

2. At the end of the course the students will be able to write Gats in swaralipi paddati.

3. At the end of the course the students will be able to play basics of violin presentation.

Page | 145


Semester 1 VIOLIN

Title of the course: Hindustani Music: Violin

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Violin Theory

Unit – 1:

Chapter No.1: Knowledge of writing Dhrut Gat in Swaralipi paddhati


Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddhati


Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat and Dhrut Ghat in Swaralipi paddhati of ragas prescribed

for practical course.

Unit – 2:

Chapter No.4: Origin of Violin

Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar notation system.


a) Pt. Bhathkande b) Pt. V.D. Paluskar

Unit – 3:


a) Sangeet b)Naad c)Shruti d)Sam e)Alap

f) Pakad g)Raga

Chapter No.8: Knowledge of Vilambit gat and Drut Gat in Violin



Text Books

References

1. Hindustani Sangeet – Mrutyunjaswami Puranikmath – Prasarnaga Karnatak

University, Dharwad.

2. Musica lInstruments of India-KrishnaMurthy –MunshiramManoharlalPublishersPvt.Ltd.

3. My Music My Life-Ravishankar–Munshiram Manoharlal Publishers Pvt.Ltd.


5. Bharatiya Sangeet Vadyagalu- Rajeev Purandare- Prasarnaga Karnatak University

Dharwad.






Total 100

Page | 146

VIOLIN - COURSE 2

Unit – 1:

Chapter No.1: Learn to play Swaras of Madya Saptak, Mandra Saptak

and Tara Saptak

Chapter No.2: Learn to play six alankaras inThaat Bilawal

Chapter No.3: Learn to play six alankaras in Thaat Kalyan

Unit – 2:

Chapter No.4: Learn to play a Drut Gat with four Alaps and four Paltas in Raag Bhoop

Chapter No.5: Learn to play a Drut with four Alaps and four Paltas in Raag Alhaiya Bilawal

Chapter No.6: Knowledge of following Talas with demonstration.

a) Teental b)Dadra

Unit – 3:

Chapter No.7: Learn to play a Vilambit Gat and Drut Gat in Raga Yaman

Chapter No.8: Learn to play a Vilambit Gat and Drut Gat in

Raga Bhimpalas

Chapter No.9: Detail knowledge of Ragas and Talas prescribed for practical course of the I- semester

Text Books

References




15+15

Total 30





Page | 147


(Violin)


Course Title: OEC Violin





subject




Course Objectives:


2. To impart the knowledge of drut gat

3. To impart the knowledge of playing shudda and vikruta swaras. Drut Gats with

alap and Taans




2. At the end of the course the students will be able to play drut gat with alap and taans


Page | 148


(Violin)


Title of the course: OEC VIOLIN

Course 1


3 60

OEC Violin

Unit – 1 :

Chapter No.1: Knowledge of violin bowing



Unit – 2 :


Chapter No.5: Learn to play drut gat in raag yaman

Chapter No.6: Learn to play drut gat in Aliya bilawal.

Unit – 3 :

Chapter No.7: Learn to play vilambit gat and drut gat with four aalaps

and four taanasin raag yaman.

Chapter No.8: Learn to play vilambit gat and drut gat with four aalaps

and four taanasin raag Aliya bilawal.



Text Books

References





Pedagogy – Lecturing and Experimental Learning





Total 100

Page | 149


Semester 1 THUMRI

Course Title: (DSCC) Thumri-I Theory 1 and Thumri-I Practical 1







Curriculum Committee Summative Assessment Marks: 70


Course Objectives:

1. To impart the knowledge of origin of thumri and technical terms of music.

2. To impart the knowledge of writing the thumri in swaralipi-paddati and to give training

to sing thumri composition.

3. In practical course, objective is to train the students to sing basics of Thumri

presentation


1. At the end of the course the students will be able to get the knowledge about origin of Thumri.

2. At the end of the course the students will be able to write Thumri in swaralipi paddhati and

will be able to sing thumri composition.

3. At the end of the course the students will be able to sing basics of thumri presentation.

Page | 150


Semester 1 THUMRI

Title of the course: Hindustani Music: Thumri

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Thumri Theory

Unit – 1:

Chapter No.1: Knowledge of writing Composition in Swaralipi paddhati


Chapter No. 2: Knowledge of writing Thumri Bandish in Swaralipi


Chapter No. 3: Knowledge of writing Sargam Geet and Lakshan Geet in Swaralipi paddhati as prescribed for practical course.

Unit – 2:

Chapter No.4: Origin of Thumri

Chapter No.5 : Knowledge Pt. Bhathkande and Pt. V.D. Palsukar notation system.


a)Vidhushi Shobha Gurutu b) Vidhushi BadeMotibai

Unit – 3:

Chapter No.7: Definition of following Technical Terms a)Bandish b)Swara c)KomalSwara d)TeevraSwara

e)Vikrat Swara f)Taal g)Laya

Chapter No.8: Knowledge of Thumri, Bhajan, Chaturang and Gazal.

Chapter No.9: Study of theoretical details of Ragas and Talas prescribed for practical course

Text Books

References

1. Sangeet shastra Part I and II – R.M Purandare, S.H.Taralagatti, G.B.Avate –

Prasarnaga Karnatak University Dharwad

2. Raga Darshan-RajeevPurandre-Prasarnaga KarnatakUniversity Dharwad

3. Sangeet Shastra Darpan-A.U.Patil-Prasarnaga Karnatak University Dharwad

4. Sangeet Sanjeevini- R.I.Hiremath

Pedagogy – Lecturing and Experimental Learning





Total 100

Page | 151

THUMRI - COURSE 2

Unit – 1:

Chapter No.1: Learn to sing Swaras of Madya Saptak, Mandra Saptak and Tara Saptak

Chapter No.2: Learn to sing Saragam Geet in Raag Kafi

Chapter No.3: Learn to sing Lakshan Geet in Raag Kafi

Unit – 2:

Chapter No.4: Learn to sing Chota Khayal with four Alaps and four

Tans in Raag Kafi

Chapter No.5: Learn to sing Chota Khayal with four Alaps and four

Tans in Raag Kalavati


Unit – 3:

Chapter No.7: Learn to sing a Thumri composition its full

development and techniques in Raag Kafi

Chapter No.8: Learn to sing 1 Dasarapada of 14th century and

1 Vachana of 12th century



Text Books

References




15+15

Total 30




Page | 152

Bachelor of Performing Arts in HINDUSTANI MUSIC

(Thumri)


Course Title: OEC Thumri





subject





Course Objectives:



3. To impart the knowledge of singing shudda and vikruta swaras. Thumri

compositions with its development.






2. At the end of the course the students will be able to sing swrageet, Thumri compositions

with its development.


Page | 153


(Thumri)


Title of the course: OEC THUMRI

Course 1


3 60

OEC Thumri

Unit – 1 :

Chapter No.1: Knowledge of different swaras



Unit – 2 :

Chapter No.4: Theoretical knowledge of raag khamaj

Chapter No.5: Learn to sing sargam geet in raag khamaj

Chapter No.6: Learn to sing vachana

Unit – 3 :

Chapter No.7: Learn to sing Chota khyal in raag khamaj.

Chapter No.8: Learn to sing thumri composition in raag khamaj.

Chapter No.9: Knowledge of following taalas with demonstration a) Bhajan teka b) Deep chandi

Text Books

References




4. Thumri gayaki - R.C. Mehta

5. Thumri parichay - Leela karval





Practical 70

Total 100

Page | 154


Semester 1 TABLA

Course Title: (DSCC) Tabla-I Theory 1 and Tabla-I Practical 1










Course Objectives:

1. To impart the knowledge of origin of tabla and technical terms of music.

2. To impart the knowledge of writing tabla compositions in talalipi-paddati and to give

training to play tabla compositions.

3. In practical course, objective is to train the students to play basics of tabla presentation




4. At the end of the course the students will be able to get the knowledge about origin of Tabla.

5. At the end of the course the students will be able to write Tabla compositions in talaalipi

paddhati and will be able to play those compositions.

6. At the end of the course the students will be able to play basic tabla presentation.

Course Articulation Matrix: Mapping of Course Outcomes (COs) with Program

Outcomes (POs 1-12)


Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 155


Semester 1 TABLA

Title of the course: Hindustani Music: Tabla

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Tabla Theory

Unit – 1:

Chapter No.1: Knowledge of writing Thekas in Talalipi paddhati

of Talas prescribed for practical course.

Chapter No. 2: Knowledge of writing Peshkar, Kayda,and paltas in

Talalipi paddhati of the talas prescribed for practical course

Chapter No. 3: Knowledge of writing Thukda ,Mukda and chakradar of the talas prescribed for practical course

Unit – 2:


Chapter No.5 : Knowledge Pt.V. N. Bhathkande and Pt. V.D. Palsukar notation system.


a) Pt. Kante maharaj b) Pt. Nana Panse

Unit – 3:

Chapter No.7: Definition of following Technical Terms a) Sangeet b) Naad c) Tala d) Matra

e) Sam f) Khali g) Bhari

Chapter No.8: Knowledge of Peshkar, Kayda and Tukada

Chapter No.9: Study of theoretical details of Talas prescribed


Text Books

References

1. Nibaddha Sangeeth -Sangeet Karyalaya Hathras

2. Musica lInstruments of India-KrishnaMurthy –

MunshiramManoharlalPublishersPvt.Ltd

3. TheMusic ofIndia-SripasdhBandopadhya-


4. AbhinavTalManjari-BySathyanarayanVashi

Pedagogy : Lecturing – Book Chapters




Theory 70

Total 100

Page | 156

TABLA - COURSE 2

Unit – 1:

Chapter No.1: Learn to play basic bols of Tabla and Dagga

Chapter No.2: Learn to play thekas with demonstration of following Talas

a)Jhaptal b)Dadra

Chapter No.3: Learn to sing Lakshan Geet in Raag Kafi

Unit – 2:

Chapter No.4: Learn to play 1 Peshkar with 5 paltas ending with Tihai in

Tala Teental

Chapter No.5: Learn to play 1 Kayada with 5 paltas ending with Tihai in

Tala Teental

Chapter No.6: Learn to play a ‘Dhir-Dhir’ exercise.

Unit – 3:

Chapter No.7: Learn to play 4 Mukdas in Tala Teental

Chapter No.8: Learn to play 4 Thukda in Tala Teental

Chapter No.9: Learn to play 2 Chakradars in Tala Teental



2. The Music of India-SripasdhBandopadhya-D.B.Tanpurewale Sonsandco.pvt.ltd.Bombay





15+15

Total 30


Page | 157


(Tabla)







subject





Course Objectives:

4. To impart the knowledge of basics of Tabla playing(different bols of Tabla and

Dugga)


6. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and

Thukda )






5. At the end of the course the students will be able to play Thekas and badal

Thekas of different Talas.

6. At the end of the course the students will be able to play solo in tabla (Peshkaar,

Kayda , Mukhda and Thukda )

Page | 158


(Tabla)


Title of the course: OEC TABLA

Course 1


3 60

OEC Tabla

Unit – 1 :

Chapter No.1: Learn to play basic bols of Tabla



Unit – 2 :

Chapter No.4: Learn to play the following thekas a)Teental b) Zaptal


Teental b) Zaptal


Unit – 3 :

Chapter No.7: Learn to play teental kayda with four paltas ending with tihai

Chapter No.8: Learn to play Jhaptal Kayda with four platas ending with tihai

Chapter No.9: Learn to play 2 Mukhdas in taal Teental

Text Books

References


2. TheMusic ofIndia-SripasdhBandopadhy.








Practical 70

Total 100

Page | 159








subject





Course Objectives:


2. To impart the knowledge of stage preparation for music programmes,

knowledge of sound system

3. Visit AIR/Doordarshan to enable the students to understand the

process of recording .









output.

Page | 160




Course 1


3 60

SEC

Unit – 1 :




Unit – 2 :




Unit – 3 :








Practical 70

Total 100

Page | 161


Semester 2 KHAYAL

Course Title: (DSCC) Khyal-II Theory 2 and Khyal-II Practical 2








*L=Lecturing P=Practical

Course Pre-requisite (s): Knowledge of BPA (Music) Khyal-I.

Course Objectives:

1. To impart the knowledge of singing shuddha and vikruta swaras in three saptakas.

2. To impart the knowledge of singing Saragam Geet, Chota Khayal and Bada Khayal with

Alap and Tans. Knowledge of writing Bada khayal and Chota Khayal bandish in

swaralip paddhati.

3. To impart the knowledge of Talas with demonstration.


At the end of the course the student should be able to:



1. At the end of the course the students will be able to get the knowledge of singing shuddha

and vikruta swaras in three saptakas.

2. At the end of the course the students will be able to get the knowledge of singing

Saragam Geet, Chota Khayal and Bada Khayal with Alap and Tans

3. At the end of the course the students will be able to get the knowledge of Talas with

demonstration and the theoretical description of raagas.


Outcomes (POs 1-12)


Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 162


Semester 2 KHAYAL

Title of the course: Hindustani Music: Khayal

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Khayal Theory 2

Unit – 1:

Chapter No.1: Knowledge of writing Chota Khyal Bandish in Swaralipi

paddhati prescribed for practical course.

Chapter No. 2: Knowledge of writing Bada Khyal Bandish in Swaralipi

paddatti prescribed for practical course.

Chapter No. 3: Knowledge of writing Alaps and Taans of Bada Khyal and

Chota Khyal in Swaralipi paddatti prescribed for practical course.

Unit – 2:

Chapter No.4: Nada and its varities.

Chapter No.5 : Knowledge Pt. Bhathkande thaat system.


a) Tansen b) Tyagraj

Unit – 3:


a) Alankar b)Taan c)Vadi d)Samvadi e)Anuvadi f)Vivadi g)Theka

Chapter No.8: Concept of Bada Khyal and Chota Khyal



Text Books

References

1. SangeetShastraDarpan-A.U.Patil-PrasarnagaKarnatakUniversityDharwad

2. Bhatkhande Sangeeth Shastra – Part 1, 2 and 3 – Pt. V.N.Bhatkhande- Sangeet

KaryalayaHathras

3. HindustaniSangeetgararu-S.V.Mathpthi-RudreshwarPrathistan-Gorta

4. SangeetVisharad-Laxminarayan Garg--SangeetKaryalaya Hathras





Theory 70

Total 100

Page | 163

KHAYAL - COURSE 2

Unit – 1:

Chapter No.1: Learn to sing shuddha and vikruta Swaras in three saptakas

Chapter No.2: Learn to sing six alankaras in Thaat Bhairav

Chapter No.3: Learn to sing six alankaras in Thaat Kaafi

Unit – 2:

Chapter No.4: Learn to sing a Saragamgeet and a Chotakhyal with four

Alaps and four Tans in Raag Durga

Chapter No.5: Learn to sing a Saragamgeet and a Chotakhyal with four

Alaps and four Tans in Raag Kaafi


a) Keharava b) Zaptal

Unit – 3:

Chapter No.7: Learn to sing a Bada khyal and a Chota khyal in the in Raga Madamad Saranga

Chapter No.8: Learn to sing a Bada khyal and a Chota khyal in the in Raga

Bhairav

Chapter No.9: Detail knowledge of Ragas and Talas prescribed for practical course of the II-Semester



KaryalayaHathras





15+15

Total 30


Page | 164


Semester 2 SITAR

Course Title:Sitar-II Theory and Sitar-II Practical








Course Pre-requisite (s): Knowledge of Sitar-I.

Course Objectives:

1. To impart the knowledge of playing shuddha and vikruta swaras in three saptakas

2. To impart the knowledge of playing MaseetKhani Gat and Razakhani Gat with platas.

knowledge of writing MaseetKhani Gat and Razakhani Gat in swaralipi paddhati

3. To impart the knowledge of Talas with demonstration.



( Course outcomes are statements of observable student actions that serve as evidence of


1. At the end of the course the students will be able to get the knowledge of playing swaras in

Madhya, Mandra and Tar Saptak.

2. At the end of the course the students will be able to write MaseetKhani Gat and Razakhani Gat

with Alap and Tans.

3. At the end of the course the students will be able to get the knowledge of Talas with

demonstration.


Outcomes (POs 1-12)


Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 165


Semester 2 SITAR

Title of the course: Hindustani Music: Sitar

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Sitar Theory 2

Unit – 1:

Chapter No.1: Knowledge of writing Razhakhani Gat in Swaralipi paddatti

prescribed for practical course.

Chapter No. 2: Knowledge of writing Maseetkhani in Swaralipipaddatti


Chapter No. 3: Knowledge of writing Alaps and Paltas of MaseetKhani Gat and Razhakhani Gat in Swaralipi paddatti as prescribed for

practical course.

Unit – 2:

Chapter No.4: Description of Sitar parts



a)Ustad Murad Khan b) Ustad Imdad Khan

Unit – 3:

Chapter No.7: Knowledgeof following Technical Terms

a) Naad b) Ahatnaad c) Anahatnaad d) Sthayi e) Antra

f) Sanchari g) Abhog

Chapter No.8: Importance of Vadi swara in music



Text Books

References

1. LearntoplaySitar- V.R.Ramratan

2. AbhinavGeetanjali-1,2,3and4-Pt.RamshreyaJha

3. MusicalInstruments ofIndia–Krishnaswami-MushirammanoharlalPublishersPvt.Ltd.

4. RagaDarshan-RajeevPurandare-Prasaranga,Karnatak UniversityDharwad





Theory 70

Total 100

Page | 166

SITAR - COURSE 2

Unit – 1:

Chapter No.1: Learn to play different Swaras (Komal and Teevra)

Chapter No.2: Learn to play six alankaras in Thaat Bhairav

Chapter No.3: Learn to play six alankaras in Thaat Kaafi

Unit – 2:

Chapter No.4: Learn to play a Razakhani Gat with four Alaps and four Paltas in Raag Durga

Chapter No.5: Learn to play a Razakhani Gat with four Alaps and four Paltas in Raag Kaafi

Chapter No.6: Knowledge of following Talas with demonstration. a) Keharava b) Zaptal

Unit – 3:

Chapter No.7: Learn to play a Maseetkhani Gat and Razakhani Gat in the

in Raga Bhoop

Chapter No.8: Learn to play a Maseetkhani Gat and Razakhani Gat in the in Raga Bhairav

Chapter No.9: Detail knowledge of Ragas and Talas prescribed for practical course of the II-Semester



KaryalayaHathras





15+15

Total 30


Page | 167


Semester 2 VIOLIN

Course Title: (DSCC) Violin-II Theory and Violin-II Practical








Course Pre-requisite (s): Knowledge of violin-I.

Course Objectives:

1. To impart the knowledge of playing shuddha and vikruta swaras in three saptakas

2. To impart the knowledge of playing Vilambit Gat and Dhrut Gat with Alap and Tans.

Knowledge of writing gats in swaralipi paddhati.

3. To impart the knowledge of Talas with demonstration



( Course outcomes are statements of observable student actions that serve as evidence of


1. At the end of the course the students will be able to get the knowledge of playing shuddha and

vikruta swaras in three saptakas .

2. At the end of the course the students will be able to get the knowledge of playing Vilambit Gat

and Dhrut Gat with Alap and Tans.

3. At the end of the course the students will be able to get the basic knowledge of basic technical

terms of Raag and Taal.


Outcomes (POs 1-12)


Outcomes (POs)

1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 168


Semester 2 VIOLIN

Title of the course: Hindustani Music: Violin

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Violin Theory 2

Unit – 1:

Chapter No.1: Knowledge of writing Dhrut Ghat in Swaralipi paddatti


Chapter No. 2: Knowledge of writing Vilambit Ghat in Swaralipi paddatti


Chapter No. 3: Knowledge of writing Alaps and Paltas of Vilambit Ghat and Dhrut Ghat in Swaralipi padhatti as prescribed for practical

course.

Unit – 2:

Chapter No.4: Description of Violin Parts



a) Amir Khusru b) Gopal Naik

Unit – 3:


a) Naad b) Ahatnaad c) Anahatnaad d) Sthayi e) Antara

f) Sanchari g) Abhog

Chapter No.8: Merits and Demerits of Instrumentalist



Text Books

References

1. RagaDarshan-RajeevPurandare-Prasaranga, KarnatakUniversityDharwad

2. HindustaniSangeethagararu-S.V.Mathpathi-RudreswharPrathistan-Gorta

3. Universal History of Music-MushiramManoharlalPublishers

4. Sangeetamurth–R.I.Hiremath





Theory 70

Total 100

Page | 169

VIOLIN - COURSE 2

Unit – 1:

Chapter No.1: Learn to play Different Swaras (Komal and Teevra)

Chapter No.2: Learn to play six alankaras inThaat Bhairav

Chapter No.3: Learn to play six alankaras inThaat Kaafi

Unit – 2:

Chapter No.4: Learn to play a Drut Gat with four Alaps and four Paltas in Raag Durga

Chapter No.5: Learn to play a Drut Ghat with four Alaps and four Paltas in Raag Kaafi

Chapter No.6: Knowledge of following Talas with demonstration. a) Keharava b) Zaptal

Unit – 3:

Chapter No.7: Learn to play a Vilambit Gat and Drut Gat in the in Raga

Bhoop

Chapter No.8: Learn to play a Vilambit Gat and Drut Gat in the Raga Bhairav


practical course of the II-Semester



KaryalayaHathras





15+15

Total 30


Page | 170


Semester 2 THUMRI

Course Title: (DSCC) Thumri-IITheory and Thumri-II Practical








Course Pre-requisite (s): Knowledge of Thumri-I.

Course Objectives:

7. To impart the knowledge of singing different swaras.

8. To impart the knowledge of singing Thumri bandish with its full development and techniques.

Knowledge of writing Thumri bandish in swaralipi paddhati

9. To impart the knowledge of Talas with demonstration





10. At the end of the course the students will be able to get the knowledge of singing different

swaras.

11. At the end of the course the students will be able to sing Thumri bandish with its full

development and techniques.

12. At the end of the course the students will be able to get the basic knowledge of basic

technical terms of Raag and Taal.


Outcomes (POs 1-12)



1 2 3 4 5 6 7 8 9 10 11 12


2.

3




Page | 171


Semester 2 THUMRI

Title of the course: Hindustani Music: Thumri

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Thumri Theory 2

Unit – 1:

Chapter No.1: Knowledge of writing Composition in Swaralipipaddatti


Chapter No. 2: Knowledge of writing Thumri Bandish in Swaralipi paddatti


Chapter No. 3: Knowledge of writing Sargam Geet and Lakshan Geet in Swaralipi paddatti prescribed for practical course.

Unit – 2:

Chapter No.4: Description of Tanpura


Chapter No.6 : Biographies of the following eminent personalities a) Ustad Bade Ghulam Ali Khan b) Vidhushi Rita Ganguly

Unit – 3:

Chapter No.7: Definition of following Technical Terms a) Alankar b) Saptak c) MandraSaptaka d) MadyaSaptaka

e) TaraSaptaka f) Matra g) Sam

Chapter No.8: Theoretical knowledge of Rutu ragas



Text Books

References

1. SangeethNibhandhavali-LaxminarayanGarag-Sangeeth KarayalayaHathras

2. HamareSangeetRatan-LaxminarayanGarag-SangeethKarayalayaHathras

3. SangeethRatnaMansoor-S.S.Malvad-PrasarangaKarnatk University Dharwad

4. SangeethShastraDarpan-A.U.Patil-PrasarangaKarnatk University Dharwad





Theory 70

Total 100

Page | 172

THUMRI - COURSE 2

Unit – 1:


Chapter No.2: Learn to sing Saragam Geet in Raag Khamaj

Chapter No.3: Learn to sing Lakshan Geet in Raag Khamaj

Unit – 2:

Chapter No.4: Learn to sing Chota Khayal with four Alaps and four Tans in Raag Khamaj

Chapter No.5: Learn to sin gChota Khayal with fou rAlaps and four Tans in Raag Chandrakauns

Chapter No.6: Knowledge of following Talas with demonstration. a) Dadra b) Keharava

Unit – 3:

Chapter No.7: Learn to sing a Thumri composition its full development

and techniques in Raag Khamaj

Chapter No.8: Learn to sing two bhavageetas


practical course of the II-Semester



KaryalayaHathras





15+15

Total 30


Page | 173


Semester 2 TABLA

Course Title: (DSCC) Tabla-II Theory 2 and Tabla II Practical 2









Course Pre-requisite (s): knowledge of Tabla-I

Course Objectives:

1. To impart the knowledge of concept of tabla solo.

2. To impart the knowledge of writing tabla compositions in talalipi-paddati and to give

training to play tabla compositions.

3. In practical course, objective is to train the students to play basics of tabla presentation




1. At the end of the course the students will be able to get the knowledge of concept of tabla

solo.

2. At the end of the course the students will be able to write Tabla compositions in talaalipi

paddhati and will be able to play those compositions.

3. At the end of the course the students will be able to play tabla presentation.

Page | 174


Semester 2 TABLA

Title of the course: Hindustani Music: Tabla

Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 65

Content of Course – 1 Theory Tabla Theory 2

Unit – 1:

Chapter No.1: Knowledge of writing Composition in Talalipi paddatti


Chapter No. 2: knowledge of describing the parts of Tabla

Chapter No. 3: knowledge of Basic concept of Tabla.

Unit – 2:

Chapter No.4: Knowledge of Peshkar, Kayda and Rela in Tabla solo play.

Chapter No.5 : Knowledge of Thukda, Gat and chakradar in Tabla solo play.


a) Ustad. Allarakha b) Pt. Jhanprakash Ghosh

Unit – 3:


a) Matra b) Vibhaga c) Avatana d) Theka e) Tihai

f) Vilambit laya g) Drut Laya

Chapter No.8: Concept of Lehra in solo play

Chapter No.9: Study of theoretical details of Talas prescribed for practical

course

Text Books

References

1. Nibaddha Sangeeth-SangeetKaryalayaHathras

2. RagaBhodhBhag 1to 6 –Pt.B.R.Devdhar-SangeetKaryalayaHathras

3. TheMusic ofIndia-SripasdhBandopadhya-D.B.TanpurewaleSonsandco.pvt.ltd.Bombay






Theory 70

Total 100

Page | 175

TABLA - COURSE 2

Unit – 1:


a) Deepchandi b) Ektal

Chapter No.2: Knowledge of following Talas with demonstration. a) Tilwada b) Jhaptal

Chapter No.3: Knowledge of Ekgun and Dugun of the Thekas of

I and II sem practical syllabus with demonstration.

Unit – 2:

Chapter No.4: Knowledge of playing 1 Peshkar with 5 paltas ending

with Tihai in Tala Zaptal

Chapter No.5: Knowledge of playing 1 Kayada with 5 paltas ending with Tihai in Tala Zaptal

Chapter No.6: Knowledge of Lehra in Taal Jhaptal

Unit – 3:

Chapter No.7: Knowledge of playing 4 Mukhda in Taal Jhaptal

Chapter No.8: Knowledge of playing 4 Thukda in Taal Jhaptal

Chapter No.9: Knowledge of playing 2 Chakradaar in Taal Jhaptal









15+15

Total 30


Page | 176

BA. HINDUSTANI MUSIC

(Fine Arts and Music)

BA Semester 1st and 2nd


SEMESTER : 1

Course -1 : Theory




1.Vocal Practical

2.Vocal Open Elective

1.Sitar Practical

2.Sitar Open Elective

1.Tabla Practical

2.Tabla Open Elective

SEMESTER : 2

Course -1 : Theory




1.Vocal Practical

2.Vocal Open Elective

1.Sitar Practical

2.Sitar Open Elective

1.Tabla Practical

2.Tabla Open Elective

Page | 177

Bachelor of Arts in HINDUSTANI MUSIC


Semester – I DSCC

DSCC Hindustani Music (Vocal/Sitar/Tabla)

Course Title: MUSIC



Duration of ESA/Exam:3 hours

theory subject and 20 minutes

duration for each candidate in

practical subject


Performing Arts Curriculum Committee Summative Assessment Marks: 70



Course Objectives:

1. To impart the knowledge of origin of music, basic of music and technical terms of music

2. To impart the knowledge of notation system to enable the students to write bandish in

swaralipi/talalipi paddhati

3. In practical course objective is to train the students to sing/play swaralankaras, vilambit

and drut compositions with alap and tans of prescribed ragas in syllabus. To train the

students of percussion instrument to play different compositions of solo play.





1 At the end of the course the students will be able to get the knowledge about origin of

music, basic of music and technical terms of music .

2 At the end of the course the students will be able to write Bandish in swaralipi/talalipi-

paddati.

3 At the end of the course the students will be able to sing /play swaralankaras, vilambit



Page | 178


(Fine Arts and Music) (Vocal/Sitar/Tabla)

BA Semester 1: Theory is common for vocal, sitar and tabla


Course 1 Course 2

Number of

Theory Credits

Number of lecture

hours/semester

Number of Theory

Credits

Number of lecture

hours/semester

3 42 3 42

Content of Course – 1 Theory Hindustani Music Theory 39/42 Hr

Unit – 1: 14 Hrs


a)Sangeeta b)Naada c)Anahat d)swara e)Shruti

f)Aandolan g)Alankara h)Aaroha i)Avaroh

Chapter No. 2: Knowledge of Technical terms:

a)Kaala b)Taala c)Laya d)Vilambit e)Drut f)Maatra

Chapter No. 3: Knowledge of Technical terms:

a)Maseetkhani Gat b) Razhakani Gat c)Meend d)Palta

Unit – 2: 14 Hrs


Chapter No.5 : Knowledge of Swaralipi paddhati of Pt.Bhatkhande

Chapter No.6 : Knowledge of Talalipi paddhati of Pt.Bhatkhande

Unit – 3: 14 Hrs

Chapter No.7: Importance of Tala and Laya in Music

Chapter No.8: Sketch and lebal of Tanpura instrument

Chapter No.9: Knowledge of writing kayals, gats and Talas in swaralipi

and talalipi Paddhati


2. Kramik Pustak Malika VOL I, II, III, IV, V, VI by Pt.Bhathkhande, Hathras Publications








Dharwad



Pedagogy




Theory 70

Total 100

Page | 179

VOCAL - COURSE 2

Vocal Practical

Unit – 1: 13/14 Hrs



Chapter No.2: Learn to play 2 alankars(palta) in bhairav That in taal Keharwa with Thaai, dugun and chaugun laya

Chapter No.3: Learn to play 2 alankars(palta) in bhairav That in taal Zhaptal with Thaai, dugun and chaugun laya

Unit – 2: 13/14 Hrs

Chapter No.4: Knowledge of playing Maseetkhani gat and Razhakani gat with four alaps and four tans in raag

yaman

Chapter No.5: Knowledge of playing Razhakhani gat with four alap and four tans in raag Vrindavani sarang


and four tans in raag Alhaiya bilawal .

Unit – 3: 13/14 Hrs

Chapter No.7: Knowledge of following talas with demonstration: a)Teental b)Dadra

Chapter No.8: Knowledge of following talas with demonstration: a)Keharwa b)Zhaptal

Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of

the following talas:

a) Dadra b) Keharwa c) Zhaptal











Dharwad



Pedagogy




Practical 70

Total 100

Page | 180

Semester 1






subject


Performing Arts Curriculum Committee Summative Assessment Marks: 70



Course Objectives:



3. To impart the knowledge of singing shudda and vikruta swaras. Sargam geet and

chota khyal with alap and Taans






2. At the end of the course the students will be able to sing swrageet, chota khayal with alap

and taans


Page | 181

BA. HINDUSTANI MUSIC (VOCAL)



Title of the course: OEC Vocal

Course 1


3 60

OEC Vocal

Unit – 1 :




Unit – 2 :


Chapter No.5: Learn to sing Sargam geet and Chota Khayal in raag

bhairav.

Chapter No.6: Learn to sing Chota Khayal with four aalaps and four

taans in raag bhairav.

Unit – 3 :

Chapter No.7: Learn to sing bhada khyal and chota khyal with four aalaps and four tans in raag bhairav.


aalaps and four tans in raag durga.








Pedagogy




Practical 70

Total 100

Page | 182



(Sitar)

BA Semester 1

Title of the course: Hindustani Music /Sitar practical

Course 2


3 65

Content of Course – Sitar Practical Unit – 1 : 14 Hrs






Zhaptal with Thaai, dugun and chaugun laya

Unit – 2 : 14 Hrs

Chapter No.4: Knowledge of playing Maseetkhani gat and Razhakani

gat with four alaps and four tans in raag yaman

Chapter No.5: Knowledge of playing Razhakhani gat with four alap and four tans in raag Vrindavani sarang


and four tans in raag Alhaiya bilawal

Unit – 3 : 14 Hrs


a)Teental b)Dadra


a)Keharwa b)Zhaptal


a)Dadra b)Keharwa c)Zhaptal









Pedagogy




Practical 70

Total 100

Page | 183




Course Title: OEC Sitar





subject





Course Objectives:


5. To impart the knowledge of Razhakhani gat


with alap and Taans






5. At the end of the course the students will be able to play Rajakhani gat with alap and

taans


Page | 184

BA. HINDUSTANI MUSIC (SITAR)



Title of the course: OEC Sitar

Course 1


3 60

OEC Sitar

Unit – 1 :




Unit – 2 :


Chapter No.5: Learn to play razakhani gat in raag yaman


Unit – 3 :


aalaps and four taans in raag yaman.


aalaps and four tans in raag Aliya bilawal.








Pedagogy




Practical 70

Total 100

Page | 185



(Tabla)

BA Semester 1

Title of the course: Hindustani Music /Tabla practical

Course 2


3 65


Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the

following talas a)Dadra b)Keharwa c)teental



a)Dadra b)Keharwa



a)Zaptal b)Teental

Unit – 2 :


tihai in taal Teental

Chapter No.5: Learn to play two kaydas with four platas ending with tihai in taal

Teental

Chapter No.6: Learn to play two kaydas in taal Zaptal

Unit – 3 :

Chapter No.7: Learn to play Sath-sangat in taal Teental

Chapter No.8: Learn to play Sath-sangat in taal Zaptal

Chapter No.9: Learn to play Sath-sangat in taal Ektaal





6. Bharatiya Sangeet Ka Itihas by Sharatchandra paranjpe, Caukamba Vidyabhavan 7. Bharatiya Sangeet Vadyakalu by Rajeev Purandare, Prasarang KU Dharwad


Pedagogy




Practical 70

Total 100

Page | 186

Semester 1






subject





Course Objectives:

1. To impart the knowledge of basics of Tabla playing(different bols of Tabla and

Dugga)


3. To impart the knowledge of solo play in tabla (Peshkaar, Kayda , Mukhda and

Thukda )






2. At the end of the course the students will be able to play Thekas and badal

Thekas of different Talas.

3. At the end of the course the students will be able to play solo in tabla (Peshkaar,

Kayda , Mukhda and Thukda )

Page | 187

BA. HINDUSTANI MUSIC (TABLA)



Title of the course: OEC Tabla

Course 1


3 60

OEC Tabla

Unit – 1 :

Chapter No.1: learn to play basic bols of Tabla



Unit – 2 :

Chapter No.4: Learn to play the following thekas

a)Teental b) Zaptal


Teental b) Zaptal.


Unit – 3 :

Chapter No.7: Learn to play teental kayda with four paltas ending with

tihai

Chapter No.8: Learn to play Jhaptal Kayda with four platas ending with

tihai

Chapter No.9: learn to play 2 Mukhdas in taal Teental






Pedagogy




Practical 70

Total 100

Page | 188









subject





Course Objectives:


2. To impart the knowledge of stage preparation for music programmes,

knowledge of sound system

3. Visit AIR/Doordarshan to enable the students to understand the

process of recording .









output.

Page | 189





Course 1


3 60

SEC

Unit – 1 :




Unit – 2 :




Unit – 3 :




Page | 190

MUSIC

Hindustani Music Semester – II DSCC

DSCC Hindustani Music (Vocal/Sitar/Tabla)

Course Title: MUSIC



Duration of ESA/Exam:3 hours

theory subject and 20 minutes

duration for each candidate in

practical subject

Model Syllabus Authors: PERFORMING

ARTS CURRICULUM COMMITTEE Summative Assessment Marks: 70


Course Pre-requisite(s): BA (Music)-I Semester

Course Objectives:

1. To impart the knowledge of historical development of music at early stage, knowledge

about musical instruments and technical terms.

2. To impart the knowledge of notation system to enable the students to write bandish in

swaralipi/talalipi paddhati. Students will be able to demonstrate talas.

3. In practical course objective is to train the students to sing/play swaralankaras, vilambit







1. At the end of the course the students will be able to get the historical development of

music at early stage, knowledge about musical instruments and technical terms.

2. At the end of the course the students will be able to write bandish in swaralipi/talalipi

paddhati. Students will be able to demonstrate talas.

3. At the end of the course the students will be able to sing /play swaralankaras, vilambit



Page | 191



(Tabla)

BA Semester 2: Theory is common for vocal, sitar and tabla


Course 2


3 42

Content of Course – Hindustani Music Theory Unit – 1 :


a)Raaga b)Raaga jaati(oudava,shadava,sampoorna) c)Shuddha d)Vikruta e)Komal-Teevra f)Aalap

g)taan h)Sthayi i)Antra

Chapter No.2: Knowledge of Technical terms: a)Theka b)Sam c)Khaali d)Thaali


a)Bhaaj b) Jod c)Gath d)Aalap e)Jhaala

Unit – 2 :

Chapter No.4: History of Music in vedic period

Chapter No.5: Music and Nature

Chapter No.6: Importance of music in life.

Unit – 3 :


Chapter No.8: Sketch and label of Tabla instrument

Chapter No.9: Knowledge of writing Khyal, gaths and Taalas in

swaralipi and Talalipi system

Text Books References 1. Sangeet Visharad by Vasant, Hathras publications 2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications






Pedagogy




Practical 70

Total 100

Page | 192



(Vocal)

BA Semester 2

Title of the course: Hindustani Music /Vocal Practical

Course 2


3 65

Content of Course – Vocal Practical Unit – 1 :

Chapter No.1: Learn to sing swarageet in raag kafi

Chapter No.2: Learn to sing lakshangeet in raag kafi

Chapter No.3: Learn to sing any form of song in raag kafi

Unit – 2 :

Chapter No.4: Knowledge of singing Bada khayal and Chota khayal with four alaps and four tans in raag bhairav


four tans in raag Durga

Chapter No.6: Knowledge of singing chota khayal with four alap and four tans in raag Bhimpalas

Unit – 3 :


a)Ektal b)Roopak




a)Roopak b)Teental










Dharwad

Pedagogy




Practical 70

Total 100

Page | 193



(Sitar)

BA Semester 2

Title of the course: Hindustani Music /Sitar Practical

Course 2


3 65

Content of Course – Sitar Practical Unit – 1 :

Chapter No.1: Learn to play Razhakhani Gat in raag kafi

Chapter No.2: Learn to play Jhaala in raag kafi

Chapter No.3: Learn to play one dhun in raag kafi

Unit – 2 :

Chapter No.4: Learn to play Maseetkhani Gat and Razhakhani Gat

with four alaps and four tans in raag bhairav


tans in raag Durga


tans in raag Bhimpalas

Unit – 3 :


a)Ektal b)Roopak

Chapter No.8: Knowledge of following talas with demonstration: a)Aaddha b) Deepchandi

Chapter No.9: Learn to demonstrate ekgun,dugun and chaugun of the following

talas

a)Roopak b)Teental










Dharwad

Pedagogy




Practical 70

Total 100

Page | 194


(Fine Arts and Music) (Tabla)

BA Semester 2 Title of the course: Hindustani Music /Tabla Practical

Course 2


3 65


Chapter No.1: Learn to demonstrate ekgun,dugun and chaugun of the following

talas

a)Roopak b)Ektal c)Aadha


a)Roopak b)Dhumali


a)Aadha b)Ektal

Unit – 2 :

Chapter No.4: Learn to play one Peshkar with four platas ending with tihai in taal Zaptal

Chapter No.5: Learn to play One Peshkar and two kaydas with four

platas ending with tihai in taal Teental

Chapter No.6: Learn to play Rela, Thukda, Gath, Chakradaar in Taal Teental

Unit – 3 :

Chapter No.7: Learn to play Teental Vilambit

Chapter No.8: Learn to play Ektal Vilambit

Chapter No.9: Learn to play Sath-sangat in taal Roopak

Text Books References 1. Sangeet Visharad by Vasant, Hathras publications 2. Kramik Pustak Malika VOL I, II, III,IV,V,VI by Pt.Bhathkhande, Hathras Publications









Pedagogy




Practical 70

Total 100

model curriculum content - kshec.karnataka.gov.in

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